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t 


I 


ANECDOTES 


OF 

PAINTERS,  ENGRAVERS, 
irulptors  auit  IrrJjfets, 


CURIOSITIES  OF  ART. 

BY 

S.  SPOONER,  M.D., 

AUTHOR  OF  “ A BIOGRAPHICAL  HISTORY  OF  THE  FINE  ARTS.” 


IN  THREE  VOLUMES. 

YOL.  I. 


NEW  YORK: 

J.  W.  BOUTON,  481  BROADWAY. 

1865. 


Entered  according  to  Act  of  Congress,  in  the  Year  One  Thousand 
Eight  Hundred  and  Fifty-Three,  by 
SHEARJASHUB  SPOONER, 

In  the  Clerk’s  Office  of  the  District  Court  for  the  Southern  District 
of  tho  State  of  New  York. 


PREFACE. 


With  the  progressive  increase  of  wealth,  leisure,  and 
refinement  in  a country,  the  Fine  Arts  gradually  and 
silently,  but  surely,  assert  their  importance  and  take  leading 
rank  among  the  pursuits  that  diffuse  a grace  on  worldly 
prosperity,  and  tend  by  their  successful  prosecution  to 
heighten  the  measure  of  a nation’s  glory. 

It  is  the  privilege  of  affluence  to  protect  and  nourish 
Art,  more  often  than  to  originate  it.  Its  divine  flame 
usually  burns  brightest  and  most  unquenchably  in  bosoms 
whose  aspirations  every  concurrence  of  external  discou- 
ragement and  uncongenial  surroundings  have  had  no  power 
to  chill.  This  truth  every  page  of  Art-History  teaches 
us,  and  this  fact  it  is  that  communicates  the  peculiar 
charm  to  Art-Biography,  as  exemplified  in  the  career  of  its 
most  exalted  votaries. 

The  truthful  incidents  that  illustrate  the  life-work  of  a 
great  artist,  possess  an  interest  in  their  minutest  details 
that  fiction  never  can  equal.  There  we  find  the  daring 
devotion  to  a worthy  object ; the  endurance  that  quails 
not  at  the  long  years  of  patient  and  self-denying  toil 
undertaken  to  secure  it;  the  faith  and  hope  that  keep 
the  eye  fixed  singly  on  its  great  aim,  and  the  heroic  reso- 
lution that  defies  the  seductions  of  present  gratification  to 
divert,  it  from  its  lofty  purpose. 


IV 


PREFACE. 


It  was  in  the  persuasion  that  such  lessons  were  taught, 
and  more  effectually  than  in  any  other  way,  by  example, 
that  this  collection  of  anecdotes  was  commenced.  To 
select  the  salient  facts  and  occurrences  of  each  artist’s 
experience,  to  mark  the  critical  turning-point  of  his  life 
when  fortune  and  fame  seem  suspended  on  a trivial  or 
accidental  event,  and  to  impart  readily/ information  on  a 
subject,  familiarity  with  which  distinguishes  the  gentle- 
man and  the  man  of  cultivation — are  its  objects ; and  on 
their  attainment  no  labor  in  consulting  original  and 
authentic  sources  of  information  has  been  spared. 

For  further  biographic  details  of  each  artist’s  history, 
reference  may  be  made  to  the  author’s  11  History  of  the 
Fine  Arts,”  2 vols.  royal  8vo.;  issued  by  the  same  pub- 
lisher. 


New  Yore,  January , 1865. 


COE  TENTS. 


Infelicities  of  Artists — an  Extract  from  the  Ameri- 
can Edition  of  Boydell’s  Illustrations  of  Shak- 
speare,  containing  anecdotes  of  Torregiano,  Banks, 

Barry,  Blake,  Proctor,  &c., 1 

Advantages  of  the  Cultivation  of  the  Fine  Arts  to 

a Country, 6 

Antiquity  of  the  Fine  Arts, 12 

The  Poecile  at  Athens, * 13 

Mosaics, * . , 15 

The  Olympian  Jupiter, 17 

Painting  from  Nature, 18 

Apelles, 18 

Apelles  and  the  Cobbler, 23 

Apelles’  Foaming  Charger, 24 

Apelles  and  Alexander, - . 25 

Apelles  and  Protogenes, 25 

Benjamin  West’s  Ancestry, - 28 

West’s  Birth, " 29 

West’s  first  remarkable  Feat, 30 

Little  Benjamin  and  the  Indians, 30 

West’s  Cat’s  Tail  Pencils, 30 

West’s  First  Picture, 31 

West’s  first  Visit  to  Philadelphia, 4-  - 32 


Vi  CONTENTS. 

West’s  Ambition, 33 

West’s  first  Patron 34 

West’s  Education, 35 

West’s  Dedication  to  Art, 36 

West’s  Early  Prices, 38 

West’s  Arrival  at  Pome, 39 

West’s  Early  Friends, 41 

West’s  Course  of  Study, 43 

A Hem  ark  able  Prophecy, 43 

West’s  Fondness  for  Skating, 44 

West’s Death  of  Wolfe,” 45 

Michael  Angelo, . 47 

Michael  Angelo  and  Julius  II., 50 

St  Peter’s  Church, 50 

Michael  Angelo  and  Lorenzo  the  Magnificent, 52 

The  Cartoon  of  Pisa, 53 

'Michael  Angelo’s  Last  Judgment, 54 

Michael  Angelo’s  Coloring, 56 

Michael  Angelo’s  Grace,  . . 57 

Michael  Angelo’s  Oil  Paintings, 58 

Michael  Angelo,  his  “Prophets,”  and  Julius  II., 58 

Bon-Mots  of  Michael  Angelo, 59 

Washington  Allston. 60 

Allston  and  Vanderlyn, 62 

American  Patronage  at  Home  and  Abroad, 66 

Baffaelle  Sanzio  di  Urbino, 70 

Raffaelle’s  Ambition, - 70 

Raffaelle  and  Michael  Angelo, 71 

Raffaelle's  Transfiguration, 72 

Death  of  Raffaelle, 74 

Character  of  Raffaelle,. 74 

La  Bella  Fornarina, . - 75 

The  Genius  of  Raffaelle, 76 


CONTENTS. 


vii 

Raffaelle’s  Model  for  his  Female  Saints, 76 

Raffaelle’s  Oil  Paintings, 77 

Portraits  of  Pope  Julius  II.,.  . 78 

Manners  of  RafFaelle, 78 

Peter  Paul  Rubens, 79 

Rubens’  Visit  to  Italy, 80 

Rubens’  Enthusiasm, 80 

Rubens’  Return  to  Antwerp 81 

Rubens’  Habits, 82 

Rubens’  Detractors, 82 

The  Gallery  of  the  Luxembourg, 83 

Rubens  sent  as  Ambassador  to  the  Courts  of  Spain 

and  England, 83 

Death  6f  Rubens, 85 

Rubens’  Numerous  Works, 86 

The  first  Picture  brought  to  Rome, 88 

Etruscan  Sculpture, 90 

Campus  Martius,  91 

Electioneering  Pictures  at  Rome, 91 

Dramatic  Scenery  at  Rome, 93 

Apelles  of  Ephesus  and  Ptolemy  Philopator, 93 

Apelles’ famous  Picture  of  Calumny, 94 

Sir  Godfrey  Kneller, 96 

Kneller  and  James  II., 97 

Knell  er’s  Compliment  to  Louis  XIV., 97 

Kneller’s  Wit, 98 

Kneller’s  Knowledge  of  Physiognomy, 99 

Kneller  as  Justice  of  the  Peace, 99 

Kneller  and  Clostermans, 100 

The  Cavaliere  Bernini,. 101 

Bernini’s  Precocity,. 101 

Bernini’s  Striking  Prediction, 101 

Bernini  and  Louis  XIV., - 102 


Vill  CONTENTS. 

Bernini’s  Works, 

Bernini  and  the  Verospi  Hercules, 

Fanaticism  destructive  to  Art, 

Paintings  Evanescent, 

The  English  National  Gallery, 

The  Nude  Figure, 

Different  Schools  of  Painting  Compared, 

The  Old  Masters, . 

Prices  of  Galleries, 

Love  makes  a Painter, 

John  Wesley  Jarvis, 

The  Biggest  Lie, 

Jarvis  and  Bishop  Moore, 

Jarvis  and  Commodore  Perry,. 

Jarvis  and  the  Philosopher, 

Jarvis  and  Dr.  Mitchell, 

Jarvis’  Habits, 1 

Robert  Fulton, 

An  Exalted  Mind  and  True  Patriot, 

Gilbert  Charles  Stuart, 

Stuart  goes  to  London, 

Stuart  as  Organist, 

Stuart’s  Introduction  to  West, 

Stuart  and  West, 

Stuart’s  Scholarship, 

Stuart’s  Rule  of  the  Payment  of  Half-Price  at  the 

First  Sitting,. 

Stuart’s  Powers  of  Perception, 

Stuart’s  Conversational  Powers, 

Stuart  in  Ireland, 

Stuart’s  Return  to  America, 

Stuart  and  Washington...... 

Stuart’s  Last  Picture, 


103 

104 

104 

106 

107 

109 

110 

111 

112 

112 

113 

118 

119 

119 

120 

120 

121 

122 

123 

124 

125 

126 

126 

128 

131 

131 

132 

133 

136 

137 

137 

138 


CONTENTS. 


IX 


Stuart’s  Reputation. 139 

Stuart’s  Drawing, ...  139 

Stuart  a Punster, 140 

. Stuart  born  in  a Snuff-Mill, 140 

Stuart’s  Nose, 140 

Stuart’s  Sitters, 141 

Stuart’s  Mark, 142 

Stuart  and  his  Dog, 142 

The  Temple  of  Diana  at  Ephesus, , 144 

The  Dying  Gladiator, 144 

Fabius  Maximus, 145 

Love  of  the  Arts  among  the  Romans, 146 

Comparative  Merits  of  the  Venus  de  Medici  and  the 

Venus  Victrix, 147 

The  Effect  of  Painting  on  the  Mind, 147 

Pausias, 148 

The  Garland  Twiner, 148 

Protogenes,  the  great  Rhodian  Painter, 149 

Parrhasius, 150 

The  Demos,  and  other  Works  of  Parrhasius, 150 

Parrhasius  and  the  Olvnthian  Captive, 151 

The  Vanity  of  Parrhasius,. 152 

The  Invention  of  the  Corinthian  Capital, 152 

The  Invention  of  Sculpture, 153 

Praxiteles, 154 

Praxiteles  and  Phidias  compared, 154 

The  Works  of  Praxiteles, 155 

The  Venus  of  Cnidus, 155 

Praxiteles  and  Phryne, 156 

The  King  of  Bithynia  and  the  Venus  of  Cnidus, 157 

Phidias, 157 

Phidias  and  Alcames, 159 

Ingratitude  of  the  Athenians, 159 


X 


CONTENTS. 


The  Jupiter  of  Phidias, . . 160 

Phidias’  Model  for  the  Olympian  Jupiter, 161 

Apollodorus,  the  Athenian, 162 

Apollodorus,  the  Architect,.. . . 163 

Trajan’s  Column, * 164 

The  Death  of  Apollodorus, 165 

Hogarth, 166 

Hogarth’s  Apprenticeship, 167 

Hogarth’s  Revenge, 168 

Hogarth’s  Method  of  Sketching, 168 

Hogarth’s  Marriage,.. .... ^ . . j 168 

Successful  Expedient  of  Hogarth, 169 

Hogarth’s  Picture  of  the  Red  Sea, 170 

Hogarth’s  Courtesy, * .....  ^ 171 

Hogarth’s  Absence  of  Mind, 171 

Hogarth’s  March  to  Finchley, * *..  a 172 

Hogarth’s  unfortunate  Dedication  of  a Picture, 172 

Hogarth’s  manner  of  selling  his  Pictures,. 172 

Hogarth’s  Last  Work, 175 

Jacques  Louis  David, 176 

David’s  Picture  of  the  Coronation  of  Napoleon, 178 

David  and  the  Duke  of  Wellington, 184 

David  and  the  Cardinal  Caprara, 185 

David  at  Brussels, . ..^ 185 

Pierre  Mignard, ^ ...  a 186 

Sir  Joshua  Reynolds,,. 188 

Reynolds’  New  Style, 189 

Reynolds’  Prices, 191 

Reynolds’  in  Leicester  Square, 192 

The  Founding  of  the  Royal  Academy, 194 

Reynolds  and  Dr.  Johnson, 195 

Dr.  Johnson’s  Friendship  for  Reynolds, 196 

Johnson’s  Apology  for  Portrait  Painting, 197 


CONTENTS. 


XI 


The  Literary  Club, 198 

Johnson’s  Portrait, 198 

Johnson’s  Death, 199 

Reynolds  and  Goldsmith, 199 

The  Deserted  Village, 200 

Goldsmith’s  u Retaliation,” 200 

Pope  a Painter,..  ...  201 

Reynolds’  First  Attempts  in  Art, 202 

The  Force  of  Habit, . 202 

Paying  the  Piper, 203 

Reynolds’  Modesty, 203 

Reynolds’  Generosity, . 203 

Reynolds’  Love  of  his  Art, 204 

Reynolds’  Criticism  on  Rubens, 205 

Reynolds  and  Haydn’s  Portrait, - 206 

Rubens’  Last  Supper,. . . . 206 

Reynolds’  Skill  in  Compliments, 207 

Excellent  Advice, 208 

Sir  Joshua  Reynolds  and  his  Portraits, 208 

Reynolds’  Flag, 209 

Burke’s  Eulogy, 209 

Reynolds’  Estimate  and  Use  of  Old  Paintings, 210 

Influence  of  the  Inquisition  upon  Spanish  Painting, 211 

A Melancholy  Picture  of  the  State  of  the  Fine  Arts 

in  Spain, 217 

Don  Diego  Velasquez, » 226 

Velasquez  honored  by  the  King  of  Spain, 227 

Velasquez’s  Slave,. 228 

Luis  Tristan, 229 

Tristan  and  El  Greco, 230 

Alonso  Cano, 230 

Cano’s  Liberality, 231 

Cano’s  Eccentricities, .• 231 


xn 


CONTENTS. 


Cano’s  Hatred  of  the  Jews, ., 232 

Cano’s  Ruling  Passion  strong  in  Death, 234 

Ribalta’s  Marriage, 235 

Aparicio,  Canova,  and  Thorwaldsen, 236 

Bartolome  Esteban  Murillo, 236 

Murillo  and  Velasquez, 236 

Murillo’s  Return  to  Seville, 237 

Murillo  and  Iriarte, 238 

Murillo’s  Death, 238 

Murillo’s  Style,. 239 

Murillo’s  Works, 240 

Murillo’s  Assumption  of  the  Virgin, 241 

Castillo’s  Tribute  to  Murillo, 242 

Correggio, 243 

Correggio’s  Grand  Cupola  of  the  Church  of  St. 

John  at  Parma, 244 

Correggio’s  Grand  Cupola  of  the  Cathedral  at 

Parma 246 

Correggio’s  Fate, 249 

Annibale  Caracci’s  Opinion  of  Correggio’s  Grand 

Cupola  at  Parma, 253 

Correggio’s  Enthusiasm, 255 

Correggio’s  Grace, 255 

Correggio  and  the  Monks, 256 

Correggio’s  Muleteer, ,256 

Duke  of  Wellington’s  Correggio  captured  at  Vittoria,.257 

Correggio’s  Ancona, 257 

Portraits  of  Correggio, 258 

Did  Correggio  ever  visit  Rome? 259 

Singular  Fate  of  Correggio’s  Adoration  of  the  Shep- 
herds,  261 

Curious  History  of  Correggio’s  “ Education  of  Cu- 
pid,”   262 


CONTENTS.  Xlii 

Magdalen  by  Correggio, 264 

Discovery  of  a Correggio, 265 

Lionardo  da  Vinci, 266 

Precocity  of  Da  Vinci’s  Genius, 266 

Extraordinary  Talents  of  Da  Vinci, 268 

Da  Vinci’s  Works  at  Milan, 268 

Da  Vinci’s  “ Battle  of  the  Standard,” .270 

Lionardo  da  Vinci  and  Leo  X., 271 

Lionardo  da  Vinci  and  Francis  I., 271 

Death  of  Da  Vinci,  .272 

Da  Vinci’s  Learning, 272 

Da  Vinci’s  Writings, 273 

Da  Vinci’s  Sketch  Books, 275 

The  Last  Supper  of  Lionardo  da  Vinci, 276 

Copies  of  the  Last  Supper  of  Da  Vinci, 278 

Da  Vinci’s  Discrimination, 279 

Da  Vinci’s  Idea  of  Perfection  in  Art, 280 

Da  Vinci  and  the  Prior, 282 

Da  Vinci’s  Drawings  of  the  Heads  in  his  celebrated 

Last  Supper, 284 

Francis  I.  and  the  Last  Supper  of  Da  Vinci, 284 

Authenticated  Works  of  Da  Vinci, 285 

Works  in  Niello, 286 

Sir  Christopher  Wren, 290 

Wren's  Self-Command, 290 

Wren’s  Restraints  in  designing  his  Edifices, 292 

The  Great  Fire  in  London, 293 

St.  Pawl’s  Cathedral, 294 

Wren’s  Death, 295 

Wren  and  Charles  II,, 295 

Thomas  Banks,  the  English  Sculptor, 295 

The  Genius  of  Banks, 297 

Banks’  Kindness  to  Young  Sculptors, 298 


XIV 


CONTENTS. 


The  Personal  Appearance  and  Character  of  Banks,... 299 

Flaxman’s  Tribute  to  Banks, 300 

Joseph  Nollekens,  the  English  Sculptor, .301 

Nollekens’  Visit  to  Rome, 301 

Nollekens  and  Garrick,  302 

Nollekens’  Talent  in  Bust  Sculpture, 303 

Nollekens’  Bust  of  Dr.  Johnson, 304 

Nollekens’  Liberality  to  Chantrey, 304 

Nollekens  and  the  Widow, 305 

Nollekens’  Compliments, 306 

An  Overplus  of  Modesty, 307 

The  Artist  Footman, 308 

An  Architect’s  Stratagem, 309 

The  Freedom  of  the  Times  in  the  Reign  of  Charles  II.,.  309 

Hanneman’s  Picture  of  “Peace,” 310 

Weesop, 310 


) 


ANECDOTES 

OF 

PAINTERS,  ENGRAVERS,  SCULPTORS,  AND  ARCHITECTS, 


EXTRACT  FROM  TEXT  TO  PLATE  LIII  OF  THE  AMERICAN 
EDITION  OF  BOYDELL’S  ILLUSTRATIONS 
OF  SHAKSPEARE. 

It  is  deemed  appropriate  to  devote  this  page  to 
the  infelicities  which  often  fall  to  the  lot  of  mqn  of 
genius,  in  hopes  to  strike  a sympathetic  chord; 
since  to  them  the  world  owes  all  that  is  beautiful  as 
well  as  useful  in  art.  It  is  well  known  that  men  of 
fine  imaginations  and  delicate  taste,  are  generally 
distinguished  for  acute  sensibilities,  and  for  being 
deficient  in  more  practical  qualities ; they  are  fre- 
quently eccentric,  and  illy  adapted  to  contend  with 
the  coldness  and  indifference  of  the  world,  much 
less  its  sarcasm  and  enmity.  The  history  of  Art  is 
full  of  melancholy  examples. 

When  Torregiano,  the  cotemporary  of  Michael 
Angelo,  had  finished  his  exquisite  group  of  the  Ma- 
donna and  Child  for  the  Duke  d’Arcos,  with  the  as- 


2 ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

surance  of  a rich  reward,  the  nobleman  sent  two 
servants,  bearing  tw^o  well-filled  bags  of  money,  with 
orders  to  bring  the  work  to  his  palace.  The  sculp- 
tor, upon  opening  the  bags,  found  nothing  but  brass 
maravedi ! Filled  with  just  indignation,  he  seized 
his  mallet,  in  a moment  of  uncontrollable  rage,  and 
smashed  the  beautiful  group  into  a thousand  pieces, 
saying  to  the  servants,  “ Go,  take  your  base  metal 
to  your  ignoble  lord,  and  tell  him  he  shall  never 
possess  a sculpture  by  my  hand !”  The  infamous 
nobleman,  burning  with  shame,  resolved  on  a terri- 
ble revenge  ; he  arraigned  the  unhappy  artist  before 
the  Inquisition,  on  a charge  of  sacrilege  for  destroy- 
ing the  sacred  images.  Torregiano  was  imprisoned 
and  condemned  to  death  by  torture ; but  to  escape 
that  awful  fate,  he  destroyed  himself  in  the  dun- 
geon. 

It  is  not  necessary  to  go  back  further  than  the 
history  of  this  work,  to  find  melancholy  examples 
of  the  trials  of  genius.  Thomas  Banks  vainly  en- 
deavored to  introduce  a lofty  and  heroic  style  of 
sculpture  into  his  native  country.  He  could  obtain 
no  commissions  to  execute  in  marble  his  most  beau- 
tiful and  sublime  compositions,  and  was  compelled 
to  confine  himself  to  monumental  sculpture.  James 
Barry,  after  struggling  with  poverty  and  neglect  all 
his  days,  died  in  a garret,  a raving  maniac.  A sub- 
scription had  been  started  for  his  relief;  but  it  was 
all  expended  in  defraying  his  funeral  expenses,  and 
in  erecting  a monument  to  his  memory  in  St.  Paul’s 


SCULPTORS,  AND  ARCHITECTS.  3 

Cathedral,  with  this  inscription, — “The  Great  His- 
torical Painter,  James  Barry.  Died,  Peb.  1806, 
aged  65  ” ! His  remains  were  laid  out  in  state,  in 
the  Great  Room  of  the  Adelphi — the  true  and  ap- 
propriate monument  of  his  genius.  The  Society 
had  requested  the  members  of  the  Royal  Academy 
to  decorate  their  Room,  and  when  all  others  de- 
clined, Barry  nobly  came  forward,  and  offered  his 
services  gratuitously,  which  were  gladly  accepted. 
He  spent  seven  long  years  in  decorating  this  apart- 
ment with  fresco  paintings,  which  the  Society  pub- 
licly declared  was  “ a national  ornament,  as  well  as  a 
monument  of  the  talents  and  ingenuity  of  the  art- 
ist”; and  Dr.  Johnson  said,  “ They  shew  a grasp  of 
mind  that  you  will  find  nowhere  else.”  Observe  the 
contrast : Cunningham  says,  that  when  he  began  this 
great  work,  he  had  but  a shilling  in  his  pocket,  and 
during  its  execution  he  lived  on  the  coarsest  fare,  in 
a miserable  garret,  subsisting  by  the  sale  of  an  occa- 
sional drawing,  when  he  could  find  a purchaser ! 

The  life  of  William  Blake  presents  a picture  no 
less  melancholy.  An  eccentric  and  extraordinary 
genius,  he  seemed,  in  the  flights  of  his  wild  imagina- 
tion, to  hold  converse  with  the  spirits  of  the  depart- 
ed ; and  in  some  of  his  works  there  is  a truly  won- 
derful sublimity  of  conception  and  grandeur  of 
execution.  Although  not  appreciated  during  his 
lifetime,  he  toiled  on  in  abject  poverty  with  indefa- 
tigable industry,  reveling  in  visions  of  future  fame. 
His  Ancient  of  Days  was  his  greatest  favorite ; 


4 


ANECDOTES  OF  PAINTERS,  ENGRAVERS. 


thre$  days  before  his  death,  he  sat  bolstered  up  in 
bed,  and  touched  it  over  and  over  with  the  choicest 
colors,  in  his  happiest  style;  then  held  it  off  at 
arms’  length,  exclaiming,  “ There  ! that  will  do!  I 
cannot  mend  it.”  Observing  his  wife  in  tears,  he 
said,  “ Stay,  Kate  ! keep  just  as  you  are  ; I will  draw 
your  portrait,  for  you  have  been  an  angel  to  me.” 
She  obeyed,  and  the  dying  artist  made  a fine  like- 
ness. He  was  cheerful  and  contented  to  the  last. 
“ I glory,”  said  he,  “ in  dying,  and  have  no  grief  but 
in  leaving  you,  Katharine  ; we  have  lived  happy  and 
we  have  lived  long ; we  have  ever  been  together, 
but  we  shall  be  divided  soon.  Why  should  I fear 
death ! Nor  do  I fear  it.  I have  endeavored  to 
live  as  Christ  commands,  and  have  sought  to  wor- 
ship God  truly.”  On  the  day  of  his  death,  Aug.  12, 
1827,  he  composed  and  sung  hymns  to  his  Maker, 
so  sweetly  to  the  ear  of  his  beloved  Katharine,  that 
she  stood  wrapt  to  hear  him.  Observing  this,  he 
said  to  her,  with  looks  of  intense  affection,  “ My  be- 
loved, they  are  not  mine— no,  they  are  the  songs  of 
the  angels.” 

Young  Proctor,  the  sculptor,  was  a student  of 
the  rarest  promise,  in  the  Royal  Academy.  After 
obtaining  two  silver  medals,  the  president,  Benjamin 
West,  had  the  suggestion  conveyed  to  him,  that  he 
had  better  execute  a historical  composition.  Ac- 
cordingly, in  the  next  year,  Proctor  produced  his 
model  of  “ Ixion  on  the  Wheel,”  and  in  the  following 
year,  “ Pirithous  slain  by  Cerberus,”  both  of  which 


SCULPTORS,  AND  ARCHITECTS. 


5 


excited  great  admiration.  In  the  third  year,  he  con- 
ceived a much  bolder  flight  of  imagination,  “ Diomed 
torn  in  pieces  by  Wild  Horses,”  which  was  far  more 
successful  than  his  previous  efforts,  approaching,  in 
the  opinion  of  the  best  judges,  the  grandeur  of  Mi- 
chael Angelo,  and  even  the  Phidian  period  of  Greek 
design.  But  this  noble  emanation  of  high  native 
talent  could  not  find  a purchaser,  and  at  the  close 
of  the  exhibition  it  was  returned  to  the  studio  of  the 
sculptor,  who,  stung  to  the  heart  by  this  severe  dis- 
appointment, instantly  destroyed  his  sublime  crea- 
tion. Derided  by  his  more  favored  but  less  deserv- 
ing cotemporaries,  Proctor  shunned  society,  and 
having  exhausted  all  his  means  of  support  to  pro- 
duce this  last  work,  he  was  reduced  to  the  greatest 
straits.  When  Mr.  West,  after  some  time,  succeed- 
ed in  ascertaining  the  place  of  his  obscure  retreat, 
he  stated  the  circumstance  to  the  Academy,  who 
unanimously  agreed  to  send  Proctor  to  Italy,  with 
the  usual  pension,  and  fifty  pounds  besides,  for  ne- 
cessary preparations.  This  joyful  intelligence  was 
immediately  communicated  to  the  despairing  artist, 
but  it  came  too  late  ! his  constitution,  undermined 
by  want  and  vexation,  was  unable  to  bear  the  revul- 
sion of  his  feelings,  and  he  shortly  after  breathed 
his  last,  “ a victim,”  says  his  biographer,  “ to  anti- 
national prejudices.” 

The  life  of  Thomas  Kirk,  termed  the  “ English 
Paffaelle,”  is  another  melancholy  example  of  unap- 
preciated genius.  Chagrin  and  disappointment  of 


6 ANECDOTES  OF  TAINTERS,  ENGRAVERS, 

his  ambitions  hopes,  consigned  him  to  an  untimely 
grave.  Taylor,  in  his  History  of  the  Fine  Arts  in 
Great  Britain,  says,  that  a few  years  ago,  one  of 
Hogarth’s  pictures  brought  at  public  sale  in  Lon- 
don, more  money  than  the  artist  ever  received  for 
all  his  paintings  together.  Nollekens,  the  sculptor, 
bought  two  landscapes  of  Bichard  "Wilson,  for  fif- 
teen guineas,  to  relieve  his  pressing  necessities.  At 
the  sale  of  the  effects  of  the  former  after  his  de- 
cease, they  brought  two  hundred  and  fifty  guineas 
each ! 

Shall  instances  like  these  stain  the  annals  of 
American  Art,  or  will  this  free  people  accord  to  its 
gifted  sons  the  encouragement  they  so  richly  de- 
serve ? May  the  sympathies  of  those  who  can  per- 
ceive in  painting  and  sculpture,  most  efficient  means 
of  mental  culture,  refinement,  and  gratification,  be 
enlisted  by  these  sad  memories.,  to  render  timely 
encouragement  to  exalted  genius  ! It  adds  to  na- 
tional and  individual  profit,  pride,  and  glory.  How 
much  does  America  owe  Bobert  Fulton  and  Eli 
"Whitney  ? Millions,  untold  millions  ! 

ADVANTAGES  OF  THE  CULTIVATION  OF  THE  FINE  ARTS 
TO  A COUNTRY. 

The  advantages  which  a country  derives  from  the 
cultivation  of  the  fine  arts,  are  thus  admirably 
summed  up  by  Sir  M.  A.  Shee,  late  President  of 
the  Boyal  Academy,  London  : — 

“ It  should  be  the  policy  of  a great  nation  to  be 


SCULPTORS,  AND  ARCHITECTS. 


7 


liberal  and  magnificent;  to  be  free  of  her  rewards, 
splendid  in  her  establishments,  and  gorgeous  in  her 
public  works.  These  are  not  the  expenses  that  sap 
and  mine  the  foundations  of  public  prosperity,  that 
break  in  upon  the  capital,  or  lay  waste  the  income 
of  a state ; they  may  be  said  to  arise  in  her  most 
enlightened  views  of  general  advantage ; to  be 
amongst  her  best  and  most  profitable  speculations  ; 
they  produce  large  sums  of  respect  and  considera- 
tion from  our  neighbors  and  competitors,  and  of 
patriotic  exultation  among  ourselves ; they  make 
men  proud  of  their  country,  and  from  priding  it, 
prompt  in  its  defense ; they  play  upon  all  the  chords 
of  generous  feeling,  elevate  us  above  the  animal  and 
the  machine,  and  make  us  triumph  in  the  powers 
and  attributes  of  men.” 

Sir  George  Beaumont,  in  a letter  to  Lord  Dover, 
on  the  subject  of  the  purchase  of  the  Angerstein 
collection  by  the  government,  speaking  of  the  benefit 
which  a country  derives  from  the  possession  of  the 
best  works  of  art,  says,  u My  belief  is  that  the 
Apollo,  the  Venus,  the  Laocoon,  &c.,  are  worth 
many  thousands  a year  to  the  country  that  pos- 
sesses them.”  "When  Parliament  was  debating  the 
propriety  of  buying  the  Angerstein  Collection  for 
£60,000,  he  advocated  the  measure  with  enthusiasm, 
and  exclaimed,  “ Buy  this  collection  of  pictures  for 
the  nation,  and  I will  give  you  mine.”  And  this  he 
nobly  did,  not  in  the  form  of  a bequest,  but  he 
transferred  them  at  once  as  soon  as  the  galleries 


c ANECDOTES  OF  PAINTERS,  ENGRA  lrERS, 

were  prepared  for  their  reception,  with  the  excep- 
tion of  one  little  gem,,  with  him  a household  god, 
which  he  retained  till  his  death.  This  picture  was 
a landscape  by  Claude,  with  figures  representing 
Hagar  and  her  child,  and  he  was  so  much  attached 
to  it  that  he  took  it  with  him  as  a constant  traveling 
companion.  When  he  died,  it  was  sent  to  its  place 
in  the  Gallery.  The  value  of  this  collection  was 
70,000  guineas.  Such  instances  of  noble  generosity 
for  public  benefaction,  deserve  to  be  held  in  grateful 
remembrance,  and  should  be  “ written  in  letters  of 
gold  on  enduring  marble,”  for  the  imitation  of  man- 
kind. 

After  the  peace  of  Amiens,  Benjamin  West  visit- 
ed Paris,  for  the  purpose  of  viewing  the  world's 
gems  of  art,  which  Bonaparte  had  collected  to- 
gether in  the  Louvre.  He  had  already  conceived 
a project  for  establishing  in  England  a national  in- 
stitution for  the  encouragement  of  art,  similar  to 
that  of  the  Louvre,  and  he  took  occasion  one 
day,  while  strolling  about  the  galleries  in  company 
with  Mr.  Pox,  the  British  minister,  and  Sir  Francis 
Baring,  to  point  out  to  them  the  advantages  of  such 
an  institution,  not  only  in  promoting  the  Pine  Arts, 
by  furnishing  models  of  study  for  artists,  but  he 
showed  the  propriety,  in  a commercial  point  of  vie  w, 
of  encouraging  to  a seven  fold  extent,  the  higher  de- 
partment of  art  in  England.  Cunningham  relates 
that  Fox  was  so  forcibly  struck  with  his  remarks 
that  he  said,  “ I have  been  rocked  in  the  cradle  of 


SCULPTORS,  AND  ARCHITECTS. 


9 

politics,  but  never  before  was  so  much  struct  with 
the  advantages,  even  in  a political  bearing,  of  the 
Fine  Arts,  to  the  prosperity,  as  well  as  the  renown 
of  a kingdom ; and  I do  assure  you,  Mr.  West,  if  I 
ever  have  it  in  my  power  to  influence  our  govern- 
ment to  promote  the  Arts,  the  conversation  which 
we  have  had  to-day  shall  not  be  forgotten.”  Sir 
Francis  Baring  also  promised  his  hearty  coopera- 
tion. W est  was  mainly  instrumental  Disestablishing 
the  Royal  British  Institution.  Taylor,  in  his  His- 
tory of  the  Fine  Arts  in  Great  Britain,  says,  he  bat- 
tled for  years  against  coldly  calculating  politicians 
for  its  accomplishment ; at  length,  his  plan  was 
adopted  with  scarcely  an  alteration. 

“ The  commercial  states  of  the  classic  ages  of  an- 
tiquity held  the  arts  in  very  high  estimation.  The 
Rhodians  were  deeply  engaged  in  commerce,  yet 
their  cultivation  of  the  arts,  more  especially  that  of 
sculpture,  was  most  surprising.  The  people  of 
iEgina  were  equally  engaged  in  commercial  pur- 
suits, but  they  were  also  admired  for  the  correct- 
ness and  elegance  of  their  taste  and  manners,  as  well 
as  their  sculpture.  A more  ancient  people  still,  the 
Phoenicians,  Tyrians,  Tyrrhenians,  Etruscans,  or 
Carthagenians,  who  were  all  colonies  from  one  race 
of  men,  long  before  the  foundation  of  Rome,  under- 
stood and  taught  others  the  working  in  metals,  one 
instance  of  which  is  remarkable  : Hiram,  king  of 
Tyre,  cast  the  brazen  sea,  and  other  immertse  objects 
in  metal,  for  Solomon’s  temple.  Let  us  cast  our 


10 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


eyes  on  Argos,  Athens,  Corinth,  and  Sicyon,  those 
ancient  abodes  of  good  taste  and  transcendent  gen- 
ius ; each  of  them  were  commercial  states  and  cities. 
The  remains  of  their  beautifully-sculptured  marbles, 
which  once  were  in  profusion,  and  of  which  we  now 
strive  to  possess  even  the  fragments,  at  almost  any 
cost,  show  evidently  that  their  commercial  pursuits 
and  relations  with  other  countries  had  no^ narrowed, 
if  it  had  not  rather  developed,  the  powers,  and  giv- 
en that  elastic  vigor  to  the  human  mind  that  can, 
under  due  encouragement,  overcome  the  greatest 
difficulties,  and  produce  the  grandest  or  the  most 
enchanting  works  of  utility  or  imagination.  The 
marble  quarries  of  Paros  and  Pentelicus  were  by 
such  encouragements  transformed  into  the  noblest 
temples  and  most  exquisitely  beautiful  statues  of 
deities,  heroes,  and  men,  that  it  is  possible  to  con- 
ceive. Such  was  the  case  throughout  all  the  cities 
on  the  coast  of  the  iEge-an  sea  and  of  the  Cyclades. 
Their  arts  increased  their  commerce ; this  was  the 
source  of  their  wealth  ; and  fully  aware  of  these  ad- 
vantages, their  wealth  reacted  again  on  their  arts, 
and  thus  there  was  kept  alive  that  healthful  move- 
ment of  the  whole  popular  mind,  directed  to  the 
useful  and  elegant  purposes  of  life. 

“ Let  us  come  down  to  much  later  times,  and  to 
states  far  less  remote,  and  ask  what  it  was  that  gave 
such  wealth  and  consequence  to  Venice,  Genoa,  Hol- 
land, and  Planders,  to  Pisa,  Florence,  and  Lucca, 
not  one  of  which  states  possessed  much  extent 


SCULPTORS,  AND  ARCHITECTS. 


11 


of  territory,  nor  any  large  amount  of  population  ? 
The  answer  is,  1 their  commercial  enterprise  and 
industry  did  it  for  them.’  True  ; but  it  is  equally 
remarkable,  that  in  all  these  states  and  cities  the  fine 
arts  gave  their  powerful  aid  to  those  pursuits,  as  the 
splendid  manufactures  of  these  people  testify.  And 
where  have  the  arts  been  fostered  with  more  paren- 
tal solicitude,  or  in  what  region  have  they  shed  more 
glory  upon  mankind,  than  they  have  done  in  these 
comparatively  small  territories  ? But  it  was  the 
same  principle  that  produced  such  splendid  works 
in  Greece  : the  cause  and  effect  were  precisely  the 
same,  the  mode  only  was  changed.  But  the  princi- 
ples are  universal  and  eternal,  and  they  may  be 
brought  to  operate  in  other  countries,  to  the  fullest 
extent,  and  with  as  much  grandeur,  grace,  and 
beauty,  as  they  ever  did  attain,  even  in  their  most 
prosperous  periods,  under  the  guidance  of  Pericles, 
when  they  reached  the  highest  splendor  of  Chrys- 
elephantine art,  under  the  master  minds  of  Phidias 
and  Praxiteles,  Callicrates  and  Ictinus,  and  at  a 
later  period  displayed  the  equally  resplendent  gen- 
ius of  Apelles,  Zeuxis,  and  Parrhasius,  in  the  time 
of  Alexander — those  splendid  epochs  of  painting, 
sculpture,  and  architecture,  which  shed  an  imperish- 
able lustre  upon  the  most  enlightened  states  of  the 
Hellenodic  confederacy,  and  on  the  throne  of  the 
greatest  conqueror  of  ancient  times.  We  must  not 
omit  mentioning  their  palmy  state  in  the  Augustan 
age  of  Pome,  and  their  still  more  glorious  elevation 
there  during  the  memorable  cinque  cento. 


12 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


“ But  to  reach  these  proud  eminences  of  intellec* 
tual  grandeur  and  extensive  usefulness,  the  arts  must 
be  solicited,  ample  protection  must  be  afforded  to 
them  ; similar  inducements  to  those  which  produced 
these  great  results  must  not  only  be  offered,  but  sub- 
stantially and  permanently  provided  for  their  use. 
This  garden  of  the  human  intellect  must  be  regu- 
larly and  assiduously  cultivated  with  great  care,  and 
kept  clear  of  the  noxious  weeds  that  would  deform 
its  beauties.  Under  genial  treatment,  all  its  charms 
develop  themselves,  and  an  endless  variety  of  inter- 
esting and  charming  creations  are  called  into  exist- 
ence, illustrating  the  high  principles  of  religion,  the 
noblest  traits  of  moral  and  heroic  conduct,  and  the 
sweetest  dreams  of  the  poetic  muse : but  the  tur- 
moils of  war  and  high  political  contention  are  to 
them  most  injurious,  blasting  their  fairest  bloom,  as 
the  poisonous  simoon  of  the  desert  withers  the 
gardens  of  Palestine  ; and  to  these  two  causes,  and 
these  only,  aided  by  anti-English  prejudice,  can  we 
attribute  the  very  slow  advances  which  the  arts  had 
made  among  the  natives  of  Britain  until  the  auspi- 
cious period  of  which  we  are  now  treating”— time 
of  George  III. — Taylor's  History  of  the  Fine  Arts 
in  Great  Britain , vol.  ii,  p.  150. 

ANTIQUITY  OF  THE  FINE  A'iiTS. 

Homer,  who  flourished  about  B.  0.  900,  gives  a 
striking  proof  of  the  antiquity  of  the  fine  arts,  in  his 
description  of  that  admirable  piece  of  chased  and 


I 


SCULPTORS,  AND  ARCHITECTS.  13 

inlaid  work — the  shield  of  Achilles.  Its  rich  design 
could  not  have  been  imagined,  unless  the  arts  neces- 
sary to  produce  it  had  arrived  to  a high  degree  of 
perfection  in  his  country  at  the  time  he  wrote, 
though  we  may  doubt  whether,  at  the  period  of  the 
Trojan  war,  three  hundred  years  before  Homer, 
there  existed  artificers  capable  of  executing  it. 

Within  a century  after  the  taking  of  Troy,  the 
Greeks  had  founded  many  new  colonies  in  Asia  Mi- 
nor, and  the  Heraclidse  finally  regained  their  ancient 
seats  in  the  Peloponnesus.  It  is  wrnrthy  of  remark 
that  about  that  period,  David  built  his  house  of  ce- 
dars, and  Solomon  adorned  Jerusalem  with  her 
magnificent  first  temple,  and  that  Hiram,  king  of 
Tyre,  sent  to  Solomon  “a  cunning  man,  endued  with 
understanding,”  to  assist  him  in  the  building  of  the 
temple,  but  more  especially  to  superintend  the  exe- 
cution of  the  ornaments.  (1st  Kings,  vii,  13,  and 
2d  Chron.,  ii,  14.) 

THE  PCECILE  AT  ATHENS. 

The  stoa  or  celebrated  Portico  at  Athens,  called 
the  Pcecile  on  account  of  its  paintings,  was  the  pride 
of  tne  Athenians.  Polygnotus,  My  con,  and  Pantae- 
nus  adorned  it  with  pictures  of  gods,  heroes,  bene- 
factors, and  the  mpst  memorable  acts  of  the  Athe- 
nians, as  the  incidents  of  the  siege  and  sacking  of 
Troy,  the  battle  of  Theseus  against  the  Amazons, 
the  battle  between  the  Athenians  and  Lacedaemoni- 
ans at  G£noe  in  Argolis,  the  battle  of  Marathon,  and 


14  ANECDOTES  OF  PAINTERS,  ENGRAVERS. 

other  memorable  actions.  The  most  celebrated  of 
these  were  a series  of  the  Siege  of  Troy,  and  the 
Battle  of  Marathon  by  Polygnotus,  more  especially 
the  latter,  which  eclipsed  all  the  others,  and  gained 
the  painter  so  much  reputation  that  the  Athenians 
offered  him  any  sum  he  should  ask,  and  when  he  re- 
fused all  compensation,  the  Amphictyonic  council 
decreed  that  wherever  he  might  travel  in  Greece,  he 
should  be  received  with  public  honors,  and  provided 
for  at  the  public  expense. 

According  to  Pausanias,  Polygnotus  represented 
the  hero  Marathon,  after  whom  the  plain  was  named, 
in  the  act  of  receiving  Minerva,  the  patroness  of 
Athens,  accompanied  by  Hercules,  about  to  be 
joined  by  Theseus,  whose  shade  is  seen  rising  out 
of  the  earth — thus  claiming  Attica  as  his  native 
soil.  In  the  foreground,  the  Greeks  and  Persians 
are  combating  with  equal  valor,  but  in  extending 
the  view  to  the  middle  of  the  composition,  the  bar- 
barians were  seen  routecj.  and  flying  to  the  Phoeni- 
cian ships,  which  were  visible  in  the  distance,  and  to 
the  marshes,  while  the  Greeks  were  in  hot  pursuit, 
slaying  their  foes  in  their  flight.  The  principal  com- 
manders of  both  parties  were  distinguished,  particu- 
larly Mardonius,  the  Persian  general,  the  insertion 
of  whose  portrait  gratified  the  Athenians  little  less 
than  that  of  their  own  commander,  Miltiades,  along 
with  whom  were  Callimachus,  Echetlus,  and  the 
poet  JEschylus,  who  was  in  the  battle  that  day.  It 
is  evident  that  the  painter  did  not  strictly  follow  his- 


SCULPTORS,  AND  ARCHITECTS 


15 


tory,  but  treated  his  subject  in  a grand  poetic  and 
heroic  style,  and  that  too,  we  may  rest  assured,  with 
consummate  skill,  to  have  elicited  such  applause 
from  a people  too  refined  to  be  deceived  by  any 
meretricious  trickery  of  art. 

MOSAICS. 

Mosaics  are  ornamented  works,  made  in  ancient 
times,  of  cubes  of  variously  colored  stones,  and  in 
modern,  more  frequently  of  glass  of  different  colors. 
The  art  originated  in  the  East,  and  seems  first  to 
have  been  introduced  among  the  Romans  in  the  time 
of  Sylla.  It  was  an  ornament  in  great  request  by 
the  luxurious  Romans,  especially  in  the  time  of  the 
Emperors,  for  the  decoration  of  every  species  of 
edifice,  and  to  this  day,  they  continue  to  discover,  in 
the  ruins  of  the  Imperial  Baths,  and  elsewhere, 
many  magnificent  specimens  in  the  finest  preserva- 
tion. In  Pompeii,  mosaic  floors  and  pavements  may 
be  said  to  have  been  universal  among  the  wealthy. 

In  modern  times,  great  attention  has  been  be- 
stowed to  revive  and  improve  the  art,  with  a view 
to  perpetuate  the  works  of  the  great  masters.  In 
this  way,  Guercino’s  Martyrdom  of  St.  Petronilla, 
and  Domenichino’s  Communion  of  the  dying  St.  Je- 
rome, in  St.  Peter’s  Church,  which  were  falling  into 
decay,  have  been  rendered  eternal.  Also,  the 
Transfiguration  of  Raffaelle,  and  other  great  works. 
Pope  Clement  VIII.  had  the  wdiole  interior  dome 
of  St.  Peter’s  ornamented  with  this  work.  A grand 


16  ANECDOTES  OF  PAINTERS,  ENGRAVERS 

Mosaic,  covering  the  whole  side  of  a wall,  repre- 
senting, as  some  suppose,  the  Battle  of  Platea  ; as 
others,  with  more  probability,  one  of  the  Victories 
of  Alexander,  was  discovered  in  Pompeii.  This 
work,  now  in  the  Academy  of  Naples,  is  the  admi- 
ration of  connoisseurs  and  the  learned,  not  only  from 
its  antiquity,  but  from  the  beauty  of  its  execution. 
The  most  probable  supposition  is,  that  it  is  a copy 
of  the  celebrated  Victory  of  Arbela,  by  Philoxenes. 

Vasari  says  that  the  art  of  Mosaic  work  had  been 
brought  to  such  perfection  at  Venice  in  the  time  of 
the  Bianchini,  famous  mosaic  painters  of  the  16th 
century,  that  “ it  would  not  be  possible  to  effect 
more  with  colors.”  Lanzi  observes  that  “the  church 
and  portico  of  St.  Mark  remain  an  invaluable  muse- 
um of  this  kind  of  work  ; where,  commencing  with 
the  11th  century,  we  may  trace  the  gradual  progress 
of  design  belonging  to  each  ago,  up  to  the  present, 
as  exhibited  in  many  works  in  mosaic,  beginning 
from  the  Greeks,  and  continued  by  the  Italians. 
They  consist  chiefly  of  histories  from  the  Old  and 
New  Testaments,  and  at  the  same  time,  furnish  very 
interesting  notices  of  civic  and  ecclesiastical  histo- 
ry.” There  are  a multitude  of  mosaic  pictures  in 
the  churches,  galleries,  and  public  edifices  of  Italy, 
especially  at  Venice,  Pome,  Florence,  Milan;  and 
some  of  the  greatest  artists  were  employed  to  furnish 
the  designs.  In  delicate  ornamental  work,  the  pieces 
are  multiplied  by  sawing  into  thin  slabs.  Some  spe- 


SCULPTORS,  AND  ARCHITECTS. 


17 


cimens  made  of  precious  stones,  are  of  incredible 
value. 

In  working,  the  different  pieces  are  cemented  to- 
gether, and  when  dry  the  surface  is  highly  polished, 
which  brings  out  the  colors  in  great  brilliancy.  The 
ancients  usually  employed  different  colored  marbles, 
stones,  and  shells ; the  Italians  formerly  employed 
brilliant  stones,  as  agate,  jaspar,  onyx,  cornelian,  &c., 
but  now  they  employ  glass  exclusively. 

THE  OLYMPIAN  JUPITER. 

The  Greek  masters  in  sculpture  have  been 
happily  designated  as  “ Magicians  in  Marble.” 
The  taste  which  the  Grecian  people  possessed  for 
the  beautiful,  is  well  known.  It  stands  among  the 
chief  of  those  characteristics  by  which  they  designa- 
ted persons  of  great  eminence.  Their  artists  con-' 
sidered  beauty  as  the  first  object  of  their  studies  ; 
and  by  this  means  they  surpassed  all  other  nations, 
and  have  become  models  for  all  ages. 

Of  Phidias,  the  most  celebrated  sculptor  of  Greece, 
the  Athenians  spoke  with  rapture  which  knew  no 
bounds.  Lucian  says,  “ We  adore  Phidias  in  his 
works,  and  he  partakes  of  the  incense  we  offer  to 
the  gods  he  has  made.”  Pausanias  relates,  that 
when  this  artist  had  finished  his  magnificent  statue 
ofi  the  Olympian  Jupiter,  Jupiter  himself  applauded 
his  labors ; 'for  when  Phidias  urged  the  god  to  show 
by  some  sign  if  the  work  was  agreeable  to  him,  the 
pavement  of  the  Temple  was  immediately  struck 


18  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

with  lightning.  Such  incidents  though  fabulous,  arc 
.valuable,  inasmuch  as  they  serve  to  prove  the  exalt- 
ed notions  the  people  entertained  of  the  objects  to 
which  they  relate. 

PAINTING  FROM  NATURE. 

Eupompus,  the  painter,  was  asked  by  Lysippus, 
the  sculptor,  whom,  among  his  predecessors,  .he 
should  make  the  objects  of  his  imitation  ? “ Be- 

hold,” said  the  painter,  showing  his  friend  a multi- 
tude of  people  passing  by,  “ behold  my  models. 
Erom  nature,  not  from  art,  by  whomsoever  wrought, 
must  the  artist  labor,  who  hopes  to  attain  honor,  and 
extend  the  boundaries  of  his  art.” 

APELLES. 

Apelles,  according  to  the  general  testimony  of 
ancient  writers,  was  the  most  renowned  painter  of 
antiquity  ; hence  painting  is  termed,  by  some  of  the 
Romans,  the  Apellean  art.  He  flourished  in  the 
last  half  of  the  fourth  century  before  Christ.  Pliny 
affirms  that  he  contributed  more  towards  perfecting 
the  art  than  all  other  painters.  He  seems  to  have 
claimed  the  palm  in  elegance  and  grace,  or  beauty, 
the  charis  qf  the  Greeks,  and  the  venustas  of  the 
Homans  ; a quality  for  which,  among  the  moderns, 
perhaps  Correggio  is  the  most  distinguished  ; but  in 
the  works  of  Apelles,  it  was  unquestionably  con- 
nected with  a proportionably  perfect  design ; a com- 
bination not  found  among  the  moderns.  Pliny  re- 


SCULPTORS,  AND  ARCHITECTS. 


19 


marks  that  Apelles  allowed  that  he  was  equalled  by 
Protogenes  in  all  respects  save  one,  namely,  in  know- 
ing when  to  take  his  hand  from  the  picture.  From 
this  we  may  infer  that  the  deficiency  in  grace  which 
he  remarked  in  the  works  of  Protogenes,  was  owing 
to  the  excessive  finish  for  which  that  painter  was 
celebrated.  Lucian  speaks  of  Apelles  as  one  of  the 
best  colorists  among  the  ancient  painters. 

Apelles  was  famed  for  his  industry ; he  is  said 
never  to  have  allowed  a day  to  pass  without  exercis- 
ing his  pencil.  “ Nulla  dies  sine  linea ,”  is  a saying 
that  arose  from  one  of  his  maxims.  His  principal 
works  appear  to  have  been  generally  single  figures, 
and  rarely  of  more  than  a single  group.  The  only 
large  compositions  of  his  execution  that  are  men- 
tioned by  the  ancient  writers  are,  Diana  surrounded 
by  her  Nymphs,  in  which  he  was  allowed  to  have 
surpassed  the  lines  of  Homer  from  which  he  took  the 
subject ; and  the  Procession  of  the  High  Priest  of 
Diana  at  Ephesus. 

In  portraits,  Apelles  was  unrivalled.  He  is  said 
to  have  enjoyed  the  exclusive  privilege  of  painting 
Philip  and  Alexander  the  Great,  both  of  whom  he 
painted  many  times.  In  one  of  his  portraits  of  Al- 
exander, which  was  preserved  in  the  temple  of 
Diana  at  Ephesus,  he  represented  him  wielding  the 
thunderbolts  of  Jupiter  : Pliny  says  the  hand  and 
lightning  appeared  to  start  from  the  picture  ; • and, 
judging  from  an  observation  in  Plutarch,  the  figure 
of  the  king  was  lighted  solely  by  the  radiance  of 


20 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


the  lightning.  Apelles  received  for  this  picture, 
termed  the  Alexander  Ceraunophorus,  twenty  tal- 
ents of  gold  (about  $20,000).  The  criticism  of 
Lysippus,  upon  this  picture,  which  has  been  ap- 
proved by  ancients  and  moderns,  that  a lance,  as  he 
had  himself  given  the  king,  would  have  been  a more 
appropriate  weapon  in  the  hands  of  Alexander,  than 
the  lightnings  of  Jupiter ; is  the  criticism  of  a 
sculptor  who  overlooked  the  pictorial  value  of  the 
color,  and  of  light  and  shade.  The  lightning  would 
certainly  have  had  little  effect  in  a work  of  sculp- 
ture, but  had  a lance  been  substituted  in  its  place 
in  the  picture  of  Apelles,  a totally  different  produc- 
tion would  have  been  the  result.  This  picture  gave 
rise  to  a saying,  that  there  were  two  Alexanders, 
the  one  of  Philip,  the  invincible,  the  other  of  Apel- 
les, the  inimitable. 

Competent  judges,  says  Pliny,  decided  the  por- 
trait of  Antigonus  (king  of  Asia  Minor)  on  horse- 
back, the  master-piece  of  Apelles.  He  excelled 
greatly  in  painting  horses,  which  he  frequently  in- 
troduced into  his  pictures.  The  most  celebrated  of 
all  his  works  was  the  Venus  Anadyomene,  which 
was  painted  for  the  people  of  Coos,  and  was  placed 
in  the  temple  of  iEsculapius  on  that  island,  where 
it  remained  until  it  was  removed  by  Augustus,  who 
took  it  in  lieu  of  100  talents  tribute,  and  dedicated 
it  in  the  temple  of  Julius  Caesar.  It  was  unfortu- 
nately damaged  on  the  voyage,  and  was  in  such  a 
decayed  state  in  the  time  of  Nero,  that  the  Empe- 


21 


SCULPTORS,  AND  ARCHITECTS. 

ror  replaced  it  with  a copy  by  a painter  named  Do- 
rotheas. This  happened  about  350  years  after  it 
was  executed,  and  what  then  became  of  it  is  not 
known.  This  celebrated  painting,  upon  which  every 
writer  who  has  noticed  it  has  bestowed  unqualified 
praise,  represented  Yenus  naked,  rising  out  of  the 
ocean,  squeezing  the  water  from  her  hair  with  her 
fingers,  while  her  only  veil  was  the  silver  shower 
that  fell  from  her  shining  locks.  This  picture  is  said 
to  have  been  painted  from  Campaspe,  a beautiful 
slave  of  Apelles,  formerly  the  favorite  of  Alexander. 
The  king  had  ordered  Apelles  to  paint  her  naked 
portrait,  and  perceiving  that  the  painter  was  smitten 
with  the  charms  of  his  beautiful  model,  he  gave  her 
to  him,  contenting  himself  with  the  painting.  He 
commenced  a second  Venus  for  the  people  of  Coos, 
which,  according  to  Pliny,  would  have  surpassed 
the  first,  had  not  its  completion  been  interrupted  by 
the  death  of  the  painter  : the  only  parts  finished 
were  the  head  and  bust.  Two  portraits  of  Alexan- 
der painted  by  Apelles,  were  dedicated  by  Augus- 
tus, in  the  most  conspicuous  part  of  the  forum  bear- 
ing his  name ; in  one  was  Alexander,  with  Castor 
and  Pollux,  and  a figure  of  Victory ; in  the  other 
was  Alexander  in  a triumphal  car,  accompanied 
by  a figure  of  War,  with  her  hands  pinioned  behind 
her.  The  Emperor  Claudius  took  out  the  heads  of 
Alexander,  and  substituted  those  of  Augustus. 
The  following  portraits  are  also  mentioned  among 
the  most  famous  works  of  this  great  artist : Chtus 


22  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

preparing  for  Battle  ; Antigonus  in  armor,  walking 
by  the  side  of  his  Horse  ; and  Archelaus  the  Gen- 
eral, with  his  wife  and  daughter.  Pausanias  men- 
tions a draped  figure  of  one  of  the  Graces  by  him, 
which  he  saw  in  the  Odeon  at  Smyrna.  A famous 
back  view  of  a Hercules,  in  the  temple  of  Antonius 
at  Borne,  was  said  to  have  been  by  Apelles.  He 
painted  many  other  famous  works  : Pliny  mentions 
a naked  figure  by  himr  which  he  says  challenged 
Nature  herself.  The  same  author  says  he  covered 
his  pictures  with  a dark  transparent  liquid  or  var- 
nish, which  had  the  effect  of  harmonising  the  colors, 
and  also  of  preserving  the  work  from  injury. 

Pliny  says  Apelles  was  the  first  artist  who  paint- 
ed tetrachromes,  or  paintings  executed-- with  four 
colors,  viz. ; lamp  black,  white  chalk,  ruddle,  and 
yellow  ochre;  yet,  in  describing  his  Venus  Anadyo- 
mene,  he  says  she  was  rising  from  the  green  or 
azure  ocean  under  a bright  blue  sky.  Zeuxis  paint- 
ed grapes  so  naturally  as  to  deceive  the  birds. 
Where  got  he  his  green  and  purple  ? There  has 
been  a great  deal  of  useless  disquisition  about  the 
merits  of  ancient  painters,  and  the  materials  they 
employed.  When  we  take  into  consideration  their 
thorough  systefn  of  education ; that  the  sister  arts 
had  been  brought  to  such  perfection  as  to  render 
them  the  models  of  all  succeeding  times  ; that  these 
painters  enjoyed  the  highest  honors  and  admiration 
of  their  polished  countrymen,  who,  it  must  be  ad- 
mitted, were  competent  to  judge  of  the  merits  of 


SCULPTORS,  AND  ARCHITECTS. 


23 


their  works ; that  the  Romans  prized  and  praised 
them  as  much  as  the  Greeks  themselves  ; that  there 
were  in  Rome  in  the  time  of  Pliny  many  ancient 
paintings  600  years  old,  still  retaining  all  their  origi- 
nal freshness  and  beauty,  it  can  scarcely  be  doubted 
that  the  paintings  of  the  great  Greek  artists  equaled 
the  best  of  the  moderns  ; that  they  possessed  all  the 
requisite  colors  and  materials;  and,  if  they  did  not 
possess  all  those  now  known,  they  had  others  un- 
known to  us.  It  is  certain  that  they  employed  can- 
vass for  paintings  of  a temporary  character,  as  deco- 
rations ; and  that  they  treated  every  subject,  both 
such  as  required  those  colors  suitable  to  represent 
the  solemnity  and  dignity  of  the  gods,  as  well  as 
others  of  the  most  delicate  tints,  with  which  to  de- 
pict flowers;  for  the  Venus  of  Apelles,  and  the 
Plower-Girl  of  Pausias  must  have  glowed  with 
Titian  tints  to  have  attracted  such  admiration. 
Colonel  Leake,  in  his  Topography  of  Athens,  speak- 
ing of  the  temple  of  Theseus,  says  that  the  stucco 
still  bears  the  marks  or  stains  of  the  ancient  paint- 
ings, in  which  he  distinctly  recognized  the  blue  sky, 
vestiges  of  bronze  and  gold  colored  armor,  and  blue, 
green,  and  red  draperies.  What  then  becomes  of 
the  tetrachromes  of  Apelles,  and  the  monochromes 
of  previous  artists  ? for  Mycon  painted  the  Theseum 
near  200  years  before  the  time  of  Apelles. 

APELLES  AND  THE  COBBLER. 

It  was  customary  with  Apelles  to  expose  to  pub- 
lic view  the  works  which  he  had  finished,  and  to 


24 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


hide  himself  behind  the  canvass,  in  order  to  hear 
the  remarks  made  by  spectators.  He  once  over- 
heard himself  blamed  by  a shoemaker  for  a fault  in 
the  slippers  of  some  figure  ; having  too  much  good 
sense  to  be  offended  with  any  objection,  however 
trifling,  which  came  from  a competent  judge,  he  cor- 
rected the  fault  which  the  man  had  noticed.  On  the 
following  day,  however,  the  shoemaker  began  to  an- 
imadvert upon  the  leg  ; on  which  Apelles,  with 
some  anger,  looked  out  from  the  canvass,  and  re- 
proved him  in  these  words,  which  are  also  become 
a proverb,  “ ne  sutor  ultra  crepidam  ” — “ let  the 
cobbler  keep  to  his  last,”  or  “ every  man  to  his 
trade.” 


APELLES*  FOAMING  CHARGER. 

In  finishing  a drawing  of  a horse,  in  the  portrait- 
ure of  which  he  much  excelled,  a very  remarkable 
circumstance  is  related  of  him.  He  had  painted  a 
war  horse  returning  from  battle,  and  had  succeeded 
to  his  wishes  in  describing  nearly  every  mark  that 
could  indicate  a high-mettled  steed  impatient  of  re- 
straint ; there  was  wanting  nothing  but  a foam  of 
bloody  hue  issuing  from  the  mouth.  He  again  and 
again  endeavored  to  express  this,  but  his  attempts 
were  unsuccessful.  At  last  in  vexation,  he  threw 
against  the  mouth  of  the  horse  a sponge  filled  with 
different  colors,  which  produced  the  very  effect  de- 
sired by  the  painter.  A similar  story  is  related  of 
Protogenes,  in  painting  his  picture  of  Jalysus  and 
his  Hog. 


SCULPTORS,  AND  ARCHITECTS. 


25 


APELLES  AND  ALEXANDER. 

Apelles  was  held  in  great  esteem  by  Alexander 
the  Great,  and  was  admitted  into  the  most  intimate 
familiarity  with  him.  He  executed  a portrait  of  this 
prince  in  the  character  of  a thundering  Jove  ; a 
piece  which  was  finished  with  such  skill  and  dex- 
terity, that  it  used  to  be  said  there  were  “ two  Alex- 
anders, the  one  invincible,  the  son  of  Philip,  and  the 
other  inimitable,  the  production  of  Apelles.”  Alex- 
ander appears  to  have  been  a patron  of  the  fine  arts 
more  from  vanity  than  taste  ; and  it  is  related,  as  an 
instance  of  those  freedoms  which  Apelles  was  per- 
mitted to  use  with  him,  that  when  on  one  occasion 
he  was  talking  in  this  artist’s  painting  room  very  ig- 
norantly of  the  art  of  painting,  Apelles  requested 
him  to  be  silent  lest  the  boys  who  ground  his  colors 
should  laugh  at  him.  On  another  occasion,  when 
he  had  painted  a picture  of  his  famous  war-horse, 
Alexander  did  not  seem  to  appreciate  its  excel- 
lence ; but  Bucephalus,  on  seeing  his  own  portrait, 
began  to  prance  and  neigh,  when  the  painter  ob- 
served that  the  horse  was  a better  judge  of  paint- 
ing than  his  master. 

APELLES  AND  PROTOGENES. 

Apelles,  being  highly  delighted  with  a picture  of 
Jalysus,  painted  by  Protogenes  of  Rhodes,  sailed 
thither  to  pay  him  a visit.  Protogenes  was  gone 
from  home,  but  an  old  woman  was  left  watching  a 
large  piece  of  canvass  which  was  fitted  in  a frame 


26  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

for  painting.  She  told  Apelles  that  Protogenes  was 
gone  out,  and  asked  him  his  name,  that  she  might 
inform  her  master  who  had  inquired  for  him.  “ Tell 
him,”  said  Apelles,  “ he  was  inquired  for  by  this 
person,”  at  the  same  time  taking  up  a pencil,  and 
drawing  on  the  canvass  a line  of  great  delicacy. 
When  Protogenes  returned,  the  old  woman  acquain- 
ted him  with  what  had  happened.  The  artist,  upon 
contemplating  the  fine  stroke  of  the  pencil,  immediate- 
ly proclaimed  that  Apelles  must  have  been  there, 
for  so  finished  a work  could  be  produced  by  no  oth- 
er person.  Protogenes,  however,  drew  a finer  line 
of  another  color ; and  as  he  was  going  away  order- 
ed the  old  woman  to  show  that  line  to  Apelles  if  he 
came  again,  and  to  say,  “ This  is  the  person  for 
whom  you  were  inquiring.”  When  Apelles  re- 
turned and  saw  the  line,  he  resolved  not  to  be  over- 
come, and  in  a color  different  from  either  of  the 
former,  he  drew  some  lines  so  exquisitely  delicate, 
that  it  was  impossible  for  finer  strokes  to  be  made. 
Having  done  so,  he  departed.  Protogenes  now 
confessed  the  superiority  of  Apelles ; flew  to  the 
harbor  in  search  of  him;  and  resolved  to  leave  the 
canvass  as  it  was,  with  the  lines  on  it,  for  the  aston- 
ishment of  future  artists.  It  was  in  after  years 
taken  to  Pome,  and  was  there  seen  by  Pliny, 
who  speaks  of  it  as  having  the  appearance  of  a large 
black  surface,  the  extreme  delicacy  of  the  lines  ren- 
dering them  invisible,  except  on  close  inspection. 
They  were  drawn  with  different  colors,  the  one  upon 


27 


SCULPTORS,  AND  ARCHITECTS. 

or  rather  within,  the  other.  This  picture  (continues 
Pliny),  was  handed  down,  a wonder  for  posterity, 
but  especially  for  artists ; and,  notwithstanding  it 
contained  only  those  three  scarcely  visible  lines  ( Ires 
tineas),  still  it  was  the  most  noble  work  in  the  Gal- 
lery, though  surrounded  by  many  finished  paintings 
by  renowned  masters. 

This  celebrated  contest  of  lines  between  Apelles 
and  Protogenes,  is  a subject  which  has  greatly  per- 
plexed painters  and  critics ; and  in  fact,  Carducci 
asserts  that  Michael  Angelo  and  other  great  artists 
treated  the  idea  with  contempt.  The  picture  was 
preserved  in  the  gallery  of  the  Imperial  palace  on 
the  Palatine,  and  was  destroyed  by  the  first  fire  that 
consumed  that  palace,  in  the  time  of  Augustus; 
therefore  it  could  not  have  been  seen  by  Pliny,  and 
the  account  must  have  been  related  by  him  from 
some  other  work.  In  regard  to  its  vagueness,  one 
of  the  principal  causes,  undoubtedly,  is  a mutilation 
of  the  text ; but  the  whole  thing  is  told  with  obscu- 
rity. Suffice  it  to  say,  that  in  the  opinion  of  Pro- 
fessor Tolken  of  Berlin,  and  the  best  modern  critics, 
this  wonderful  piece  could  not  have  contained  only 
three  simple  tines , as  stated  by  Pliny,  else  how  could 
it  have  been  termed  “ the  most  noble  work  in  the 
gallery,  and  the  wonder  of  posterity.” 

At  the  time  this  occurrence  took  place,  Proto- 
genes lived  in  a state  of  poverty  and  neglect ; but 
the  generous  notice  of  Apelles  soon  caused  him  to 
be  valued  as  he  deserved  by  the  Bhodians.  Apelles 


28  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

acknowledged  that  Protogenes  was  even  in  some  re* 
spects  his  superior ; the  chief  fault  he  found  with 
him  was,  that  “ he  did  not  know  when  to  take  his 
hand  from  his  work  a phrase  which  has  become 
proverbial  among  artists.  He  volunteered  to  pur- 
chase all  the  works  he  had  by  him,  at  any  price  he 
should  name,  and  when  Protogenes  estimated  them 
far  below  their  real  value,  he  offered  him  fifty  tal- 
ents, and  spread  the  report  that  he  intended  to  sell 
theip  as  his  own.  He  thus  opened  the  eyes  of  the 
Phodians  to  the  merit  of  their  painter,  and  they  ac- 
cordingly secured  his  works  at  a still  higher  price. 

In  Protogenes,  the  able  rival  of  Apelles,  the  arts 
received  one  of  the  highest , tokens  of  regard  they 
were  ever  favored  with ; for  when  Demetrius  Poli- 
orcetes  was  besieging  the  city  of  Phodes,  and  might 
have  taken  it  by  assaulting  it  on  the  side  where  Pro- 
togenes resided,  he  forbore,  lest  he  should  do  an  in- 
jury to  his  works  ; and  when  the  Phodians  delivered 
the  place  to  him,  requesting  him  to  spare  the 
pictures  of  this  admired  artist,  he  replied,  “ that  he 
would  sooner  destroy  the  images  of  his  forefathers, 
than  the  productions  of  Protogenes.” 

ANECDOTES  OF  BENJAMIN  WEST. 

HIS  ANCESTRY. 

Cunningham  says,  “ John  West,  the  father  of 
Benjamin,  was  of  that  family  settled  at  Long- 
Crendon,  in  Buckinghamshire,  which  produced  Col- 
onel James  West,  the  friend  and  companion  in  arms 


SCULPTORS,  AND  ARCHITECTS. 


29 


of  John  Hampden.  Upon  one  occasion  in  the 
course  of  a conversation  in  Buckingham  palace,  re- 
specting his  picture  of  the  Institution  of  the  Garter, 
West  happened  to  make  some  allusion  to  his  Eng- 
lish descent,  when  the  Marquis  of  Buckingham,  to 
the  manifest  pleasure  of  the  king,  declared  that  the 
Wests  of  Long-Crendon  were  undoubted  descend- 
ants of  the  Lord  Delaware,  renowned  in  the  wars 
of  Edward  the  Third  and  the  Black  Prince,  and 
that  the  artist’s  likeness  had  therefore  a right  to  a 
place  amongst  those  of  the  nobles  and  warriors,  in 
his  historical  picture.” 

west’s  birth. 

Galt  says  Benjamin’s  birth  was  brought  on  pre- 
maturely by  a vehement  sermon,  preached  in  the 
fields,  by  Edward  Peckover,  on  the  corrupt  state  of 
the  Old  World,  which  he  prophesied  was  about  to 
be  visited  with  the  tempest  of  God’s  judgments,  the 
wicked  to  be  swallowed  up,  and  the  terrified  rem- 
nant compelled  to  seek  refuge  in  happy  America. 
Mrs.  West  was  so  affected  that  she  swooned  away 
was  carried  home  severely  ill,  and  the  pains  of  labor 
came  upon  her ; she  was,  however,  safely  delivered, 
and  the  preacher  consoled  the  parents  by  predicting 
that  “ a child  sent  into  the  world  under  such  re- 
markable circumstances,  would  assuredly  prove  a 
wonderful  man,”  and  admonished  them  to  waLh 
over  their  son  with  more  than  ordinary  care. 


30 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


HIS  FIRST  REMARKABLE  FEAT. 

The  first  remarkable  incident  recorded  of  the  in- 
fant prodigy,  occurred  in  his  seventh  year ; when, 
being  placed  to  watch  the  sleeping  infant  of  his  eld- 
est sister,  he  drew  a sort  of  likeness  of  the  child, 
with  a pen,  in  red  and  black  ink.  His  mother  re- 
turned, and  snatching  the  paper  which  he  sought  to 
conceal,  exclaimed  to  her  daughter,  u I declare,  he 
has  made  a likeness  of  little  Sally !”  She  took  him 
in  her  arms,  and  kissed  him  fondly.  This  feat  ap- 
peared so  wonderful  in  the  eyes  of  his  parents  that 
they  recalled  to  mind  the  prediction  of  Peckover. 

LITTLE  BENJAMIN  AND  THE  INDIANS. 

When  he  was  about  eight  years  old,  a party  of 
Indians,  who  were  always  kindly  treated  by  the  fol- 
lowers of  George  Pox,  paid  their  summer  visit  to 
Springfield,  and  struck  with  the  rude  sketches 
which  the  boy  had  made  of  birds,  fruit,  and  flowers, 
they  taught  him  to  prepare  the  red  and  yellow  colors 
with  which  they  stained  their  weapons  and  ornament- 
ed their  skins ; his  mother  added  indigo,  and  thus 
he  was  possessed  of  three  primary  colors.  The  In- 
dians also  instructed  him  in  archery. 

HIS  cat’s  TAIL  PENCILS. 

The  wants  of  the  child  increased  with  his  know- 
ledge ; he  could  draw,  and  had  colors,  but  how  to 
lay  them  on  skillfully,  he  could  not  conceive  ; a pen 
would  not  answer,  and  he  tried  feathers  with  no  bet- 


SCULPTORS,  AND  ARCHITECTS. 


31 


ter  success ; a neighbor  informed  him  that  it  was 
done  with  a cameUs  hair  pencil,  but  as  such  a thing 
was  not  to  be  had,  he  bethought  himself  of  the  cat, 
and  supplied  himself  from  her  back  and  tail.  The 
cat  was  a favorite,  and  the  altered  condition  of  her 
fur  was  attributed  to  disease,  till  the  boy’s  confes- 
sion explained  the  cause,  much  to  the  amusement 
of  his  parents  and  friends.  His  cat’s  tail  pencils 
enabled  him  to  make  more  satisfactory  efforts  than 
he  had  before  done. 

west’s  first  picture. 

When  he  was  only  eight  years  old,  a merchant  of 
Philadelphia,  named  Pennington,  and  a cousin  of 
the  Wests,  was  so  much  pleased  with  the  sketches 
of  little  Benjamin,  that  he  sent  him  a box  of  paints 
and  pencils,  with  canvass  prepared  for  the  easel,  and 
six  engravings  by  Gribelin.  The  child  was  per- 
fectly enraptured  with  his  treasure ; he  carried  the 
box  about  in  his  arms,  and  took  it  to  his  bedside, 
but  could  not  sleep.  He  rose  with  the  dawn, 
carried  his  canvass  and  colors  to  the  garret,  hung 
up  the  engravings,  prepared  a palette,  and  com- 
menced work.  So  completely  was  he  under  this 
species  of  enchantment,  that  he  absented  himself 
from  school,  labored  secretly  and  incessantly,  and 
without  interruption,  for  several  days,  when  the  anx- 
ious inquiries  of  his  schoolmaster  introduced  his 
mother  into  his  studio , with  no  pleasure  in  her  looks. 
He  had  avoided  copyism,  and  made  a picture,  com- 


32 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


posed  from  two  of  the  engravings,  telling  a new 
story,  and  colored  with  a skill  and  effect  which,  to 
her  eyes,  appeared  wonderful.  Galt,  who  wrote 
"West’s  life,  and  had  the  story  from  the  artist’s  own 
lips,  says,  “ She  kissed  him  with  transports  of  affec- 
tion, and  assured  him  that  she  would  not*only  inter- 
cede with  his  father  to  pardon  him  for  having  ab- 
sented himself  from  school,  but  would  go  herself  to 
the  master,  and  beg  that  he  might  not  be  punished. 
Sixty-seven  years  afterwards  the  writer  of  these 
memoirs  had  the  gratification  to  see  this  piece,  in 
the  same  room  with  the  sublime  painting  of  Christ 
Rejected  (West’s  brother  had  sent  it  to  him  from 
Springfield),  on  which  occasion  the  painter  declared 
to  him  that  there  were  inventive  touches  of  art  in 
his  first  and  juvenile  essay,  which,  with  all  his  sub- 
sequent knowledge  and  experience,  he  had  not  been 
able  to  surpass.”  A similar  story  is  told  of  Cano- 
va,  who  visited  his  native  place  towards  the  close  of 
his  brilliant  career,  and  looking  earnestly  at  his 
youthful  performances,  sorrowfully  said,  “I  have 
been  walking,  but  not  climbing.” 

west’s  FIRST  VISIT  TO  PHILADELPHIA. 

In  the  ninth  year  of  his  age,  he  accompanied  his 
relative  Pennington  to  Philadelphia,  and  executed  a 
view  of  the  banks  of  the  river,  which  so  much 
pleased  a painter  named  Williams,  that  he  took  him 
to  his  studio,  and  showed  him  all  his  pictures,  at  the 
sight  of  which  he  was  so  affected  that  he  burst  into 


SCULPTORS,  AND  ARCHITECTS*  33 

tears.  The  artist,  surprised,  declared  like  Peckover 
that  Benjamin  would  be  a remarkable  man;  he 
gave  him  two  books,  Du  Fresnoy,  and  Richardson 
on  Painting,  and  invited  him  to  call  whenever  he 
pleased,  to  see  his  pictures.  Prom  this  time,  Ben- 
jamin resolved  to  become  a painter,  and  returned 
home  with  the  love  of  painting  too  firmly  implanted 
to  be  eradicated.  His  parents,  also,  though  the  art 
was  not  approved  by  the  Friends,  now  openly  en- 
couraged him,  being  strongly  impressed  with  the 
opinion  that  he  was  predestinated  to  become  a great 
artist. 


west’s  ambition. 

His  notions  of  a painter  at  this  time  were  also 
very  grand,  as  the  following  characteristic  anecdote 
will  show.  One  of  his  school-fellow7s  allured  him, 
on  a half  holiday  from  school,  to  take  a ride  with  him 
to  a neighboring  plantation.  “ Here  is  the  horse, 
bridled  and  saddled,”  said  the  boy,  “ so  comfc,  get 
up  behind  me.”  “ Behind  you  i”  said  Benjamin  ; 
“ I will  ride  behind  nobody.”  “ Oh,  very  well,”  re- 
plied the  other ; “ I will  ride  behind  you,  so  mount.” 
He  mounted  accordingly,  and  away  they  rode. 
“ This  is  the  last  ride  I shall  have  for  some  time,” 
said  his  companion ; •“  to-morrow  I am  to  be  ap- 
prenticed to  a tailor.”  “ A tailor !”  exclaimed 
West ; “ you  will  surely  never  be  a tailor  ?”  “ In- 

deed but  I shall,”  replied  the  other;  “it  is  a good 
trade.  What  do  you  intend  to  be,  Benjamin 


34  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

“ A painter.”  “ A painter  ! what  sort  of  a trade 
is  a painter?  I never  heard  of  it  before.”  “A 
painter,”  said  West,  “ is  the  companion  of  kings  and 
emperors.”  “ You  are  surely  mad,”  said  the  em- 
bryo tailor  ; “ there  are  neither  kings  nor  emperors 
in  America.”  “ Aye,  but  there  are  plenty  in  other 
parts  of  the  world.  And  do  you  really  intend  to 
be  a tailor  ?”  “ Indeed  I do ; there  is  nothing 

surer.”  “ Then  you  may  ride  alone,”  said  the  fu- 
ture companion  of  kings  and  emperors,  leaping 
down  ; “I  will  not  ride  with  one  who  is  willing  to 
be  a tailor !” 


west’s  first  patrons. 

West’s  first  patron  was  Mr.  Wayne,  the  father  of 
General  Anthony  Wayne,  who  gave  him  a dollar  a 
piece  for  two  small  pictures  he  made  on  poplar 
boards  which  a carpenter  had  given  him.  Another 
patron  was  Mr.  Flower,  a justice  of  Chester,  who 
took  young  West  to  his  house  for  a short  time, 
where  he  was  made  acquainted  with  a young  English 
lady,  governess  to  Mr.  Flower’s  daughters,  who  had 
a good  knowledge  of  art,  and  told  him  stories  of 
Greek  and  Roman  history,  fit  for  a painter’s  pencil. 
He  had  never  before  heard  of  the  heroes,  phi- 
losophers, poets,  painters,  and  historians  of  Greece 
and  Rome,  and  he  listened  while  the  lady  spoke  of 
them,  with  an  enthusiasm  ^Thich  he  loved  to  live 
over  again  in  his  old  age.  His  first  painting  which 
attracted  much  notice  was  a portrait  of  Mrs.  Ross 


SCULPTORS,  AND  ARCHITECTS. 


65 


a very  beautiful  lady,  the  wife  of  a lawyer  of  Lan- 
caster. The  picture  was  regarded  as  a wonderful 
performance,  and  gained  him  so  much  reputation, 
says  Galt,  “ that  the  citizens  came  in  such  crowds 
to  sit  to  the  boy  for  portraits,  that  he  had  some 
trouble  in  meeting  the  demand.”  At  the  same 
time,  a gunsmith,  named  Henry,  who  had  a classic 
turn,  commissioned  him  to  paint  a picture  of  the 
Death  of  Socrates.  West  forthwith  made  a sketch 
which  his  employer  thought  excellent,  but  he  now 
began  to  see  his  difficulties,  and  feel  his  deficiencies. 
“ I have  hitherto  painted  faces,”  said  he,  u and  peo- 
ple clothed.  What  am  I to  do  with  the  slave  who 
'-presents  the  poison  ? He  ought,  I think,  to  be 
painted  naked.”  Henry  went  to  his  shop,  and  re- 
turned with  one  of  his  workmen,  a handsome  young 
negro  man  half  naked,  saying,  “ There  is  your  mo- 
del.” He  accordingly  introduced  him  into  his  pic- 
ture, which  excited  great  attention. 

west’s  education. 

West  was  now  fifteen  years  old.  Dr.  Smith, 
Provost  of  the  College  at  Philadelphia,  happened  to 
see  him  at  Lancaster,  and  perceiving  his  wonderful 
talents,  and  that  his  education  was  being  neglected, 
generously  proposed  to  his  father  to  take  him  with 
him  to  Philadelphia,  where  he  proposed  to  direct 
his  studies,  and  to  instruct  him  in  all  the  learning 
most  important  for  a painter  to  kuow. 


36 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

WEST’S  DEDICATION  TO  ART. 

The  art  of  painting  being  regarded  by  the  Qua 
kers  as  not  only  useless  but  pernicious,  “ in  preserv- 
ing voluptuous  images,  and  adding  to  the  sensual 
gratifications  of  man,”  Mr.  West  determined  to  sub- 
mit the  matter  to  the  wisdom  of  the  Society,  before 
giving  a positive  answer.  He  accordingly  sent  for 
his  son  to  attend  the  solemn  assembly.  The  Friends 
met,  and  the  spirit  of  speech  first  descended  on 
John  Williamson,  who,  according  to  G-alt,  thus 
spake  : “ To  John  West  and  Sarah  Pearson,  a man- 
child  hath  been  born,  on  whom  God  hath  conferred 
some  remarkable  gifts  of  mind ; and  you  have  all 
heard  that,  by  something  amounting  to  inspiration, 
the  youth  has  been  induced  to  study  the  art  of 
painting.  It  is  true  that  our  tenets  refuse  to  own 
the  utility  of  that  art  to  mankind,  but  it  seemeth  to 
me  that  we  have  considered  the  matter  too  nicely. 
God  hath  bestowed  on  this  youth  a genius  for  art — 
shall  we  question  his  wisdom  ? Can  we  believe  that 
he  gives  such  rare  gifts  but  for  a wise  and  good  pur- 
pose ? I see  the  Divine  hand  in  this ; we  shall  do  well 
to  sanction  the  art  and  encourage  this  youth.”  The 
Quakers  gave  their  unanimous  consent,  and  summon- 
ed the  youth  before  them.  He  came,  and  took  his  sta- 
tion in  the  middle  of  the  room,  his  father  on  his  right 
hand,  his  mother  on  his  left,  while  around  him  gather- 
ed the  whole  assembly.  One  of  the  women  first  spake, 
but  the  words  of  Williamson,  says  Galt,  are  alone 
remembei^d.  “ Painting,”  said  he,  “ has  hitherto 


SCULPTORS,  AND  ARCHITECTS. 


37 


been  employed  to  embellish  life,  to  preserve  volup- 
tuous images,  and  add  to  the  sensual  gratifica- 
tions of  men.  For  this  we  classed  it  among  vain 
and  merely  ornamental  things,  and  excluded  it  from 
amongst  us.  But  this  is  not  the  principle  but  the 
mis-employment  of  painting.  In  wise  and  pure  h ands, 
it  rises  in  the  scale  of  moral  excellence,  and  displays 
a loftiness  of  sentiment,  and  a devout  dignity,  wor- 
thy of  the  contemplation  of  Christians..  I think  gen- 
ius is  given  by  God  for  some  high  purpose.  "What 
the  purpose  is,  let  us  not  inquire — it  will  be  manifest 
in  His  own  good  time  and  way.  He  hath  in  this 
remote  wilderness  endowed  with  rich  gifts  of  a su- 
perior spirit  this  youth,  who  has  now  our  consent  to 
cultivate  his  talents  for  art ; may  it  be  demonstrated 
in  his  life  and  works,  that  the  gifts  of  God  have  not 
been  bestowed  in  vain,  nor  the  motives  of  the  benefi- 
cent inspiration,  which  induces  us  to  suspend  the 
strict  operations  of  our  tenets,  prove  barren  of  re- 
ligious and  moral  effect !”  At  the  conclusion  of  this 
address,  says  Galt,  the  women  rose  and  kissed  the 
young  artist,  and  the  men,  one  by  one,  laid  their 
hands  on  his  head.  The  scene  made  so  strong  an 
impression  on  the  mind  of  West,  that  he  looked 
upon  himself  as  expressly  dedicated  to  art,  and  con- 
sidered this  release  from  the  strict  tenets  of  his  sect, 
as  enjoining  on  his  part  a covenant  to  employ  his 
powers  on  subjects  pure  and  holy.  The  grave  sim- 
plicity of  the  Quaker  continued  to  the  last  in  his 
looks,  manners,  and  deportment ; and  the  moral  rec 


38  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

titude  and  internal  purity  of  the  man  were  diffused 
through  all  his  productions. 

west’s  early  prices. 

At  about  eighteen  years  of  age,  West  commenced 
portrait  painting  as  a profession  in  Philadelphia. 
His  extreme  youth,  the  pecular  circumstances  of  his 
history,  and  his  undoubted  merit,  brought  him  many 
sitters.  His  prices  were  very  humble — $12.50  for 
a head,  and  $25  for  a full-length  ; all  the  money  he 
thus  laboriously  earned,  he  carefully  treasured,  to 
secure,  at  some  future  period,  the  means  of  travel 
and  study ; for  his  sagacious  mind  perceived  that 
travel  not  only  influenced  public  opinion,  but  was 
absolutely  necessary  for  him  if  he  wished  to  excel, 
especially  in  historical  painting.  There  were  no 
galleries  in  America ; he  knew  that  the  masterpieces 
of  art  were  in  Italy,  and  he  had  already  set  his 
heart  on  visiting  that  delightful  country.  He  made 
a copy  of  a picture  of  St.  Ignatius,  by  Murillo, 
which  had  been  captured  in  a Spanish  vessel,  and 
belonged  to  Governor  Hamilton ; he  also  painted  a 
large  picture  for  Mr.  Cox,  from  the  history  of  Su- 
sanna, the  Elders,  and  Daniel,  in  which  he  intro- 
duced no  less  than  forty  figures.  This  work  gained 
him  great  reputation,  and  West  always  considered 
it  the  masterpiece  of  his  youth  ; it  was  afterwards 
unfortunately  destroyed  by  fire.  After  having  paint- 
ed the  portraits  of  all  who  desired  it  in  Philadelphia, 
he  proceeded  to  New  York,  where  he  opened  a stu- 


SCULPTORS,  AND  ARCHITECTS. 


89 


diq,  and  Dunlap  says  for  eleven  months  he  had  all 
the  portraits  he  could  execute,  at  double  the  prices 
he  had  charged  in  Philadelphia.  An  opportunity 
now  presented  itself,  which  enabled  him  to  gratify 
his  long  cherished  desire  of  going  to  Italy.  The 
harvest  had  partially  failed  in  that  country,  and  Mr. 
Allen,  a merchant  of  Phila*delphia,  was  loading  a 
ship  with  wheat  and  flour  for  Leghorn.  He  had  re- 
solved to  send  his  son  as  supercargo,  to  give  him 
the  benefit  of  travel,  and  West’s  invaluable  friend, 
Provost  Smith,  made  arrangements  for  the  young 
painter  to  accompany  the  young  merchant.  It  hap- 
pened that  a Hew  York  merchant,  of  the  name  of 
Kelly,  was  sitting  for  his  portrait  when  this  good 
news  arrived,  and  West  with  joy  spoke  to  him  of 
the  great  advantage  he  expected  to  derive  from  a 
residence  of  two  or  three  years  in  Italy.  The  por- 
trait being  finished,  Mr.  Kelly  paid  him  ten  guineas, 
and  gave  him  a letter  to  his  agent  in  Philadelphia, 
which,  on  being  presented,  proved  to  be  an  order 
from  the  generous  merchant  to  pay  him  fifty  guineas, 
as  “ a present  to  aid  in  his  equipment  for  Italy.” 

WEST’S  ARRIVAL  AT  ROME. 

West  arrived  at  Pome  on  the  10th  of  July,  1760, 
in  the  22d  year  of  his  age.  Cunningham  thus  de- 
scribes his  reception  : “ When  it  was  known  that  a 
young  American  had  come  to  study  Paffaelle  and  Mi- 
chael Angelo,  some  curiosity  was  excited  among  the 
Koman  virtuosi.  The  first  fortunate  exhibitor  of 


40  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

this  lion  from  the  western  wilderness  was  Lard 
Grantham  the  English  ambassador,  to  whom  West 
had  letters.  He  invited  West  to  dinner,  and  after- 
wards took  him  to  an  evening  party,  where  he  found 
almost  all  those  persons  to  whom  he  had  brought 
letters  of  introduction..  Among  the  rest  was  Car- 
dinal Albani,  wTho,  though  old  and  blind,  had  such 
delicacy  of  touch  that  he  was  considered  supreme  in 
all  matters  of  judgment  regarding  medals  and  intag- 
lios. ‘ I have  the  honor,’  said  Lord  Grantham,  ‘ to 
present  you  a young  American,  who  has  a letter  for 
your  Eminence,  and ' who  has  come  to  Italy  for  the 
purpose  of  studying  the  Eine  Arts.’  The  Cardinal 
knew  so  little  of  the  New  World,  that  he  conceived 
an  American  must  needs  be  a savage.  1 Is  he  black 
or  white  ?’  said  the  aged  virtuoso,  holding  out  both 
hands,  that  he  might  have  the  satisfaction  of  touch- 
ing, at  least,  this  new  wonder.  Lord  Grantham 
smiled  and  said, 1 he  is  fair — very  fair.’  ‘ What ! as 
fair  as  I am  ?’  exclaimed  the  prelate.  Now  the 
complexion  of  the  churchman  was  a deep  olive — 
that  of  West  more  than  commonly  fair ; and  as  they 
stood  together,  the  company  smiled.  As  fair  as 
the  Cardinal,’  became  for  a while  proverbial.  Others, 
who  had  the  use  of  their  eyes,  seemed  to  consider 
the  young  American  as  at  most  a better  kind  of 
savage,  and  accordingly  were  curious  to  watch  him. 
They  wished  to  try  what  effect  the  Apollo,  the 
Venus,  and  the  works  of  Baffaelle  would  have  upon 
him,  and  thirty  of  the  most  magnificent  equipages  in 


SCULPTORS,  AND  ARCHITECTS.  41 

the  capital,  filled  with  some  of  the  most  erudite 
characters  in  Europe,  says  Galt,  conducted  the  young 
Qtiaker  to  view  the  masterpieces  of  art.  It  was 
agreed  that  the  Apollo  should  be  first  submitted  to 
his  view ; the  statue  was  enclosed  in  a case,  and 
when  the  keeper  threw  open  the  doors,  West  uncon- 
sciously exclaimed,  ‘ My  God!  a young  Mohawk 
warrior !’  The  Italians  were  surprised  and  morti- 
fied with  the  comparison  of  their  noblest  statue  to  a 
wild  savage;  and  West,  perceiving  the  unfavorable 
impression,  proceeded  to  remove  it.  He  described 
the  Mohawks,  the  natural  elegance  and  admirable 
symmetry  of  their  persons,  the  elasticity  of  their  , 
limbs,  and  their  motions  free  and  unconstrained.  1 I 
have  seen  them  often,’  he  continued,  ‘ standing  in  the 
attitude  of  this  Apollo,  and  pursuing  with  an  intense 
eye  the  arrow  which  they  had  just  discharged  from 
the  bow.’  The  Italians  cleared  their  moody  brows, 
and  allowed  that  a better  criticism  had  rarely  been 
made.  West  was  no  longer  a barbarian.” 

west’s  early  friends. 

The  excitement  to  which  West  was  subjected  at 
Home,  his  intense  application,  and  his  anxiety  to  dis- 
tinguish himself,  brought  on  a fever,  and  for  a time, 
interrupted  his  studies  ; by  the  advice  of  his  physi- 
cians, he  returned  to  Leghorn,  for  the  benefit  of  the 
sea  air,  where,  after  a lingering  sickness  of  eleven 
months,  he  was  completely  cured.  But  he  found 
his  funds  almost  exhausted,  and  he  began  to  des 


42  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

pair  of  being  able  to  prosecute  his  studies  accord 
ing  to  the  proposed  plan.  He  called  on  his  agents, 
to  take  up  the  last  ten  pounds  he  had  in  the  world, 
when  to  his  astonishment  and  joy,  he  was  handed  a 
letter  of  unlimited  credit  from  his  old  friends  in 
Philadelphia,  Mr.  Allen  and  Governor  Hamilton; 
they  had  heard  of  his  glorious  reception  at  Rome, 
and  his  success  with  the  portrait  of  Lord  Grantham. 
At  a dinner,  one  day,  with  Governor  Hamilton,  Mr 
Allen  said,  “ I regard  this  young  man  as  an  honor 
to  his  country,  and  as  he  is  the  first  that  America 
has  sent  out  to  cultivate  the  Fine  Arts,  he  shall  not 
be  frustrated  in  his  studies,  for  I shall  send  him 
whatever  money  he  may  require.”  “ I think  with 
you,  sir,”  replied  Hamilton,  “ but  you  must  not  have 
all  the  honor  to  yourself ; allow  me  to  unite  with 
you  in  the  responsibility  of  the  credit.”  Those  who 
befriend  genius  when  it  is  struggling  for  distinction, 
are  public  benefactors,  and  their  names  should  be 
held  in  grateful  remembrance.  The  names  of  Ham- 
ilton, Allen,  Smith,  Kelly,  Jackson,  Rutherford,  and 
Lord  Grantham,  must  be  dear  to  all  the  admirers 
of  West;  they  aided  him  in  the  infancy  of  his  fame 
and  fortune,  cheered  him  when  he  was  drooping  and 
desponding ; and  watched  over  his  person  and  purse 
with  the  vigilance  of  true  friendship.  West  always 
expressed  his  deepest  obligation  to  these  generous 
men,  and  it  was  at  his  particular  request  that  Galt 
recorded  their  names,  and  their  deeds. 


43 


SCULPTORS,  AND  ARCHITECTS. 

west’s  COURSE  OF  STUDY. 

West  now  proceeded  with  redoubled  alacrity,  to 
execute  the  plan  recommended  by  Mengs.  He 
visited  Florence,  Bologna,  Parma,  and  Venice,  and 
diligently  examined  everything  worth  studying.  He 
everywhere  received  marks  of  attention,  and  was 
elected  a member  of  the  Academies  of  Florence, 
Bologna,  and  Parma.  In  the  latter  city,  he  paint- 
ed and  presented  to  the  Academy,  a copy  of  the 
famous  St.  Jerome  by  Correggio,  “of  such  excel- 
lence,” says  Galt,  “ that  the  reigning  prince  desired 
to  see  the  artist.  He  went  to  court,  and  to  the  ut- 
ter astonishment  of  the  attendants,  appeared  with 
his  hat  on.  The  prince  was  familiar  with  the  tenets 
of  the  Quakers,  and  was  a lover  of  William  Penn ; 
he  received  the  young  artist  with  complacency,  and 
dismissed  him  with  many  expressions  of  regard.” 
West  returned  to  Pome,  where  he  painted  two  pic- 
tures which  were  highly  commended,  one  of  Cimon 
and  Iphigenia,  and  the  other  of  Angelica  and  Me- 
dora.  At  Venice,  he  particularly  studied  the  works 
of  Titian,  and  Cunningham  says,  “ he  imagined  he 
had  discovered  his  principles  of  coloring.” 

A REMARKABLE  PROPHECY. 

As  West  was  conversing  one  evening  with  Gavin 
Hamilton  in  the  British  Coffee  House,  at  Pome,  an 
old  man,  with  a long  and  flowing  beard  and  a harp 
in  his  hand,  entered  and  offered  his  services  as  an 


44  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

improvisatore  bard.  “ Here  is  an  American,”  said 
the  wily  Scot,  “ come  to  study  the  Fine  Arts  in 
Home  ; take  him  for  your  theme,  and  it  is  a magni 
ficent  one.”  The  minstrel  casting  a glance  at  West, 
who  never  in  his  life  could  perceive  what  a joke  was, 
commenced  his  song.  “ I behold  in  this  youth  an 
instrument  chosen  by  heaven  to  create  in  his  native 
country  a taste  for  those  arts  which  have  elevated 
the  nature  of  man — an  assurance  that  his  land  will 
be  the  refuge  of  science  and  knowledge,  when  in 
the  old  age  of  Europe  they  shall  have  forsaken  her 
shores.  All  things' of  .heavenly  origin  move  west- 
ward, and  Truth,  and  Art,  have  their  periods  of 
light  and  darkness.  Rejoice,  0 Home,  for  thy  spirit 
immortal  and  undecayed  now  spreads  towards  a 
new  world,  where,  like  the  soul  of  man  in  Paradise,  it 
will  be  perfected  more  and  more.”  The  prediction 
of  Peckover,  the  fond  expressions  of  his  beloved 
mother,  and  his  solemn  dedication  to  art,  rushed 
upon  West’s  memory,  and  he  burst  into  tears;  and, 
even  in  his  riper  years,  he  was  willing  to  consider 
the  poor  mendicant’s  song  as  another  prophecy. 

west’s  FONDNESS  FOR  SKATING. 

There  are  other  minor  matters,  says  Cunningham, 
which  help  a man  on  to  fame  and  fortune.  West 
was  a skillful  skater,  and  in  America  had  formed  an 
acquaintance  on  the  ice  with  Colonel  Howe.  One 
day,  the  painter  having  tied  on  his  skates  at  the  Ser- 
pentine,  was  astonishing  the  timid  practitioners  of 


SCULPTORS,  AND  ARCHITECTS. 


45 


London  with  the  rapidity  of  his  motions,  and  the 
graceful  figure  which  he  cut.  Some  one  shouted 
“ West!  West !”  It  was  Colonel  Howe.  “I  am  glad 
to  see  you,55  said  he,  “ and  not  less  so  that  you  came 
in  good  time  to  vindicate  my  praises  of  American 
skating.”  He  called  to  him  Lord  Spencer  Hamil- 
ton, and  some  of  the  Cavendishes,  to  whom  he  in- 
troduced West  as  one  of  the  Philadelphia  prodigies 
of  skating,  and  requested  him  to  show  them  what 
was  called  “the  Salute.”  He  performed  this  feat 
so  much  to  their  satisfaction  .that  they  spread  the 
praises  of  the  American  skater  all  over  London. 
West  was  exceedingly  fond  of  this  invigorating 
amusement,  and  used  frequently  to  gratify  large 
crowds  by  cutting  the  Philadelphia  Salute.  Cun- 
ningham says,  “ Many  to  the  praise  of  skating,  added 
panegyrics  on  his  professional  skill,  and  not  a few 
to  vindicate  their  applause,  followed  him  to  his  easel, 
and  sat  for  their  portraits.” 

i 

west’s  DEATH  OF  WOLFE. 

A change  was  now  to  be  effected  in  the  character 
of  British  art.  Hitherto,  historical  painting  had  ap- 
peared in  a masking  habit;  the  actions  of  English- 
men, says  Cunningham,  had  all  been  performed,  if 
costume  were  to  be  believed,  by  Greeks  and  Ro- 
mans. West  dismissed  at  once  this  pedantry,  and 
restored  nature  and  propriety  in  his  noble  work  of 
“the  Death  of  Wolfe.”  The  multitude  acknow- 
ledged its  excellence  at  once,  on  its  being  exhibited 


46 


ANECDOTES  OF  PAINTERS,  ENGRAVERS. 


at  the  Royal  Academy ; but  the  lovers  of  old  art, 
or  of  the  compositions  called  classical , complained 
of  the  barbarism  of  boots,  buttons,  and  blunderbus- 
ses, and  cried  out  for  naked  warriors,  with  bows, 
bucklers,  and  battering  rams.  Lord  Grosvenor  was 
so  pleased  with  the  picture,  that,  disregarding  the 
frowns  of  amateurs,  and  the  cold  approbation  of 
the  Academy,  he  purchased  it.  Galt  says  that  the 
king  questioned  West  concerning  this  picture,  and 
put  him  on  his  defense  of  this  new  heresy  in  art. 
“ When  it  was  understood,”  said  the  artist,  “ that  I 
intended  to  paint  the  characters  as  they  had  actual- 
ly appeared  on  the  scene,  the  Archbishop  of  York 
called  on  Reynolds,  and  asked  his  opinion ; they 
both  came  to  my  house  to  dissuade  me  from  running 
so  great  a risk.  Reynolds  began  a very  ingenious 
and  elegant  dissertation  on  the  state  of  the  public 
taste  in  this  country,  and  the  danger  which  every 
innovator  incurred  of  contempt  and  ridicule,  and 
concluded  by  urging  me  earnestly  to  adopt  the  cos* 
tume  of  antiquity,  as  more  becoming  the  greatness 
of  my  subject  than  the  modern  garb  of  European 
warriors.  I answered  that  the  event  to  be  com- 
memorated happened  in  the  year  1758,  in  a region 
of  the  world  unknown  to  the  Greeks  and  Romans, 
and  at  a period  of  time  when  no  warriors  who  wore 
such  costume  existed.  The  subject  I have  to  re- 
present is  a great  battle  fought  and  won,  and  the 
same  truth  which  gives  law  to  the  historian,  should 
rule  the  painter.  If  instead  of  the  facts  of  the  ac* 


SCULPTORS,  AND  ARCHITECTS. 


47 


tion,  I introduce  fiction,  how  shall  I be  un  lerstood 
by  posterity  ? The  classic  dress  is  certainly  pictu- 
resque, but  by  using  it,  I shall  lose  in  sentiment 
what  I gain  in  external  grace.  I want  to  mark  the 
place,  the  time,  and  the  people,  and  to  do  this,  I 
must  abide  by  truth.  They  went  away,  and  re- 
turned again  when  I had  finished  the  painting. 
Reynolds  seated  himself  before  the  picture,  exam- 
ined it  with  deep  and  minute  attention  for  half  an 
hour;  then  rising,  said  to  Drummond,  “ "West  has 
conquered ; he  has  treated  his  subject  as  it  ought 
to  be  treated ; I retract  my  objections.  I foresee 
that  this  picture  will  not  only  become  one  of  the 
most  popular,  but  will  occasion  a revolution  in  art.” 
“ 1 wish,”  said  the  king,  “ that  I had  known  all  this 
before,  for  the  objection  has  been  the  means  of  Lord 
G-rosvenor’s  getting  the  picture ; but  you  shall  make 
a copy  for  me.” 

MICHAEL  ANGELO. 

Michael  Angelo  was  descended  from  the  noble 
family  of  Canosa.  From  his  earliest  infancy,  he  dis- 
covered a passion  for  drawing  and  sculpture.  It  is 
said  that  his  nurse  was  the  wife  of  a poor  sculptor,  or 
as  some  say,  a mason.  His  father,  Lodovico  Simone 
Buonarotti,  intended  him  for  one  of  the  learned  pro- 
fessions, and  placed  him  in  a grammar  school  at 
Florence.  Here  young  Angelo  soon  manifested  the 
greatest  fondness  for  drawing,  and  became  quite 
intimate  with  the  students  in  painting.  The  decided 


48 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


bent  of  his  genius  induced  his  parents,  against  their 
wishes,  to  place  him  at  the  age  of  fourteen  under 
the  instruction' of  Domenico  Ghirlandaio.  He  made 
such  rapid  progress,  that  he  soon  not  only  surpassed 
all  his  fellow  disciples,  but  even  his  instructor,  so 
that  he  was  able  to  correct  Domenico’s  drawing. 

While  pursuing  his  studies  under  Ghirlandaio, 
he  was  accustomed  to  visit  the  gardens  of  the  Grand 
Duke,  (Lorenzo  the  Magnificent)  to  study  the  an- 
tique. One  day,  when  he  was  about  fifteen  years 
of  age,  he  found  a piece  of  marble  in  the  garden, 
and  carved  it  into  the  mask  of  a satyr,  borrowing  the 
design  from  an  antique  fragment.  Lorenzo,  on  see- 
ing the  work,  was  struck  with  its  excellence,  and 
jestingly  told  the  young  Angelo  that  he  had  made 
a mistake  in  giving  a full  set  of  teeth  to  an  old  man. 
This  hint  was  not  lost ; the  next  day  it  was  found 
that  the  artist  had  broken  one  of  the  teeth  from  the 
upper  jaw,  and  drilled  a hole  in  the  gum  to  repre- 
sent the  cavity  left  by  the  lost  tooth.  The  first  work 
executed  by  Michael  Angelo,  on  his  return  to  Flor- 
ence from  Bologna,  where  he  had  fled  on  account 
of  the  disturbances  in  the  former  city,  was  a Sleep- 
ing Cupid,  in  marble,  which  considerably  enhanced 
his  reputation ; but  so  great  was  the  prejudice  in 
favor  of  the  antique,  that  by*the  advice  of  a friend, 
Michael  Angelo  sent  his  statue  to  Borne,  to  under- 
go the  process  of  burial,  in  order  to  give  it  the  ap- 
pearance of  a work  of  ancient  art,  before  it  should 
be  submitted  to  public  inspection.  This  fraud,  like 


SCULPTORS,  AND  ARCHITECTS. 


4fi 


many  of  a similar  kind  at  this  time  practiced,  suc- 
ceeded completely ; and  the  Cupid  was  eagerly  pur- 
chased by  the  Cardinal  St.  Giorgio,  for  200  ducats. 
It  was  not  long  before  the  Cardinal  was  told  that  a 
tnck  had  been  played  upon  him,  and  he  sent  a per- 
son to  Florence,  in  order  to  ascertain,  if  possible  the 
truth  of  the  charge.  The  latter  repaired  to  the 
studios  of  the  different  artists  in  that  city,  on  the 
pretence  of  seeing  their  productions.  On  visiting 
the  atelier  of  Michael  Angelo,  he  requested  to  see  a 
specimen  of  his  work;  but  not  having  anything  fin- 
ished at  the  time,  he  carelessly  took  up  a pen,  and 
made  a sketch  of  a hand.  The  Cardinal’s  messen- 
ger, struck  by  the  freedom  and  grandeur  of  the 
style,  inquired  what  was  the  last  work  he  had  exe- 
cuted. The  artist,  without  consideration,  answered 
at  the  moment,  it  was  a Sleeping  Cupid ; and  so 
minutely  described  the  supposed  antique  statue,  that 
there  remained  no  doubt  whose  work  it  was.  The 
messenger  at  once  confessed  the  object  of  his  jour- 
ney, and  so  strongly  recommended  Michael  Angelo 
to  visit  Eome,  that  he  soon  after  went  to  that  city, 
on  the  express  invitation  of  the  Cardinal  St.  Giorgio 
himself.  Here  he  executed  several  admirable  works, 
among  which  the  Pieta,  or  dead  Christ,  has  been 
highly  extolled  for  the  great  knowledge  of  anatomy 
displayed  in  the  figure.  He  afterwards  returned  to 
Florence,  where  he  executed  his  celebrated  marble 
statue  of  David. 


50  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

MICHAEL  ANGELO  AND  JULIUS  THE  SECOND. 

Julius  the  Second,  a patron  of  genius  and  learn- 
ing, having  ascended  the  papal  throne,  Michael  An- 
gelo was  among  the  first  invited  to  Rome,  and  was 
immediately  employed  by  the  pope  in  the  execution 
of  a magnificent  mausoleum.  On  the  completion  of 
the  design,  it  was  difficult  to  find  a site  befitting  its 
splendor  ; and  it  was  finally  detertnined  to  rebuild 
St.  Peter’s,  in  order  that  this"  monument  might  be 
contained  in  a building  of  corresponding  magnifi- 
cence. Thus  originated  the  design  of  that  edifice, 
which  was  one  hundred  and  fifty  years  in  comple- 
tion, and  which  is  now  the  noblest  triumph  of  archi- 
tectural genius  the  world  can  boast.  The  comple- 
tion of  this  grand  monument  was  delayed  by  vari- 
ous causes  during  the  pontificates  of  several  suc- 
ceeding popes,  until  the  time  of  Paul  III.  It  was 
not  placed  in  St.  Peter’s,  as  originally  intended,  but 
in  the  church  of  S.  Pietro,  in  Vincoli.  On  this  mon- 
ument is  the  celebrated  colossal  statue  of  Moses, 
which  ranks  Michael  Angelo  among  the  first  sculp- 
tors, and  has  contributed  largely  to  his  renown. 

ST.  PETER’S  CHURCH. 

Michael  Angelo’s  greatest  architectural  work  was 
the  cupola  of  St.  Peter’s  church.  Bramante,  the 
original  architect,  had  executed  his  design  only  up 
to  the  springing  of  the  four  great  arches  of  the  cen- 
tral intersection.  Giuliano  di  Sangallo,  Giocondo, 
Raffaelle,  Peruzzi,  and  Antonio  Sangallo,  had  been 


SCULPTORS,  AND  ARCHITECTS. 


51 


successively  engaged,  after  Bramante’s  decease,  to 
carry  on  the  work ; but  during  the  inert  sway  of 
Adrian  VI.,  and  amid  the  catastrophes  of  Clement 
VII.,  little  had  been  accomplished.  At  length  Paul 
III.  appointed  Michael  Angelo  to  the  post  of  archi- 
tect, much  against  his  will,  as  he  was  then  seventy- 
two  years  of  age.  He  immediately  laid  aside  all  the 
drawings  and  models  of  his  predecessors,  and  taking 
the  simple  subject  of  the  original  idea,  he  carried 
it  out  with  remarkable  purity,  divesting  it  of  all  the 
intricacies  and  puerilities  of  the  previous  successors 
of  Bramante,  and  by  its  unaffected  dignity,  and 
unity  of  conception,  he  rendered  the  interior  of  the 
cupola  superior  to  any  similar  work  of  modern  times. 
He  was  engaged  upon  it  seventeen  years,  and  at  the 
age  of  eighty-seven  he  had  a model  prepared  of  the 
dome,  which  he  carried  up  to  a considerable  height ; 
in  fact,  to  such  a point  as  rendered  it  impossible  to 
deviate  from  his  plan ; and  it  was  completed  in  con- 
formity with  his  design,  by  Gfiacomo  della  Porta,  and 
Domenico  Fontana.  The  work  was  greatly  delayed 
in  consequence  of  the  want  of  necessary  funds,  or 
else  Michael  Angelo  would  have  himself  completed 
this  great  monument  of  his  taste  and  skill.  If  we 
are  indebted  to  Bramante  for  the  first  simple  plan 
of  the  Greek  Cross  of  St.  Peter’s,  and  the  idea  of  a 
cupola  to  crown  the  centre,  still  it  must  be  allowed 
that  to  Michael  Angelo  is  due  the  merit  of  carrying 
out  the  conception  of  the  original  architect,  with  a 
beauty  of  proportion,  a simplicity  and  unity  of  form, 


59 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


a combination  of  dignity  and  magnificence  of  deco- 
ration, beyond  what  even  the  powers  of  Bramante 
could  have  effected. 

Such  was  the  unparalleled  eminence  which  this 
wonderful  genius  attained  in  the  three  sister  arts  of 
sculpture,  architecture,  and  painting.  His  chief 
characteristics  were  grandeur  and  sublimity.  His 
powers  were  little  adapted  to  represent  the  gentle 
and  the  beautiful ; but  whatever  in  nature  partook 
of  the  sublime  and  the  terrible,  were  portrayed  by 
him  with  such  fidelity  and  grandeur  as  intimidates 
the  beholder.  Never  before  nor  since  has  the  world 
beheld  so  powerful  a genius.  The  name  of  Michael 
Angelo  will  be  immortal  as  long  as  the  peopled 
wrnlls  of  the  Sistine  chapel  endure,  or  the  mighty 
fabric  of  St.  Peter’s  rears  its  proud  dome  above  the 
spires  of  the  Eternal  city. 

MICHAEL  ANGELO’S  FIRST  PATRON. 

Lanzi  says  that  Lorenzo  the  Magnificent,  desirous 
of  encouraging  the  statuary  art,  then  on  the  decline 
in  his  country,  had  collected  in  his  gardens  many 
antique  marbles,  which  he  committed  to  the  care  of 
Bertoldo.  He  requested  Ghirlandaio  to  send  him  a 
talented  young  man,  to  be  educated  there,  and  he 
sent  him  Michael  Angelo,  then  a youth  of  sixteen. 
Lorenzo  was  so  pleased  with  his  genius  that  he  took 
him  into  his  palace,  rather  as  a relative  than  a de- 
pendent, placing  him  at  the  same  table  with  his  own 
sons,  with  Poliziano  and  other  learned  men  who 


SCULPTORS,  AND  ARCHITECTS. 


ho> 

graced  his  residence.  During  the  four  years  that 
he  remained  there,  he  laid  the  foundation  of  all  his 
acquirements. 


THE  CARTOON  OF  PISA. 

According  to  Condivi,  Michael  Angelo  devoted 
twelve  years  to  the  study  of  anatomy,  with  great 
injury  to  his  health,  and  this  course  “ determined 
his  style,  his  practice,  and  his  glory.”  His  perfect 
knowledge  of  the  human  body  was  best  shown  in 
his  famous  Cartoon  of  the  Battle  of  Pisa,  prepared 
in  competition  with  Lionardo  da  Vinci,  in  the  sa- 
loon of  the  public  palace  at  Florence.  Angelo  did  not 
rest  satisfied  with  representing  the  Florentines,  cased 
in  armor,  and  mingling  with  their  enemies  in  deadly 
combat ; but  choosing  the  moment  of  the  attack 
upon  the  van,  while  bathing  in  the  river  Arno,  he 
seized  the  opportunity  of  representing  many  naked 
figures,  as  they  rushed  to  arms  from  the  water,  by 
which  he  was  enabled  to  introduce  a prodigious  va- 
riety of  foreshortenings,  and  attitudes  the  most  en- 
ergetic— in  a word,  the  highest  perfection  of  his  pe- 
culiar excellence.  Cellini  observes  of  this  work, 
that  “ when  Michael  Angelo  painted  in  the  chapel 
of  Julius  II.,  he  did  not  reach  half  that  dignity;” 
and  Vasari  says  that  “ all  the  artists  who  studied 
and  designed  after  this  cartoon,  became  eminent.” 

This  sublime  production  has  perished,  and  report, 
though  not  authenticated,  accuses  Baccio  Bandi* 
nelli  of  having  destroyed  it,  either  that  others  might 


54  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

not  derive  advantage  from  its  study,  or,  because  of 
his  partiality  to  Vinci  and  his  hatred  to  Buonarottl 
he  wished  to  remove  a subject  of  comparison  that 
might  exalt  the  reputation  of  the  latter  above  that 
of  the  former. 

MICHAEL  ANGELO’S  LAST  JUDGMENT. 

Lanzi  says,  “ In  the  succeeding  pontificates  (to 
that  of  Julius  II.)  Michael  Angelo,  always  occupied 
in  sculpture  and  architecture,  almost  wholly  aban- 
doned painting,  till  he  was  induced  by  Paul  III.  to 
resume  the  pencil.  Clement  VII.  had  conceived 
the  design  of  employing  him  in  the  Sistine  chapel, 
on  two  other  grand  historical  pictures — the  P all  of 
the  Angels,  over  the  gate  ; and  the  Last  Judgment, 
in  the  opposite  facade,  over  the  altar.  Michael  An- 
gelo had  composed  designs  for  the  Last  Judgment, 
and  Paul  III.  being  aware  of  this,  commanded,  or 
rather  entreated,  him  to  commence  the  work ; for 
he  went  to  his  house,  accompanied  by  ten  Cardinals, 
— an  honor,  except  in  this  instance,  unknown  in  the  an- 
nals of  the  art.”  This  sublime  work  was  finished  by 
Michael  Angelo  in  eight  years,  and  was  exhibited 
in  1541.  Vasari  says  that  at  the  suggestion  of  Fra 
Sebastiano  del  Piombo,  the  Pope  desired  that  it 
should  be  painted  in  oil ; but  Michael  Angelo  posi- 
tively declined  to  undertake  it,  except  in  fresco,  say- 
ing “ that  oil  painting  was  an  employment  only  fit 
for  women,  or  idlers  of  mean  capacity.”  Varchio 
in  his  funeral  oration  says,  “ Such  was  the  delicacy 


SCULPTORS,  AND  ARCHITECTS.  55 

of  his  taste  that  no  artist  could  please  him ; and  as 
in  sculpture,  every  pincer,  file,  and  chisel  which  he 
used,  was  the  work  of  his  own  hands,  so  in  paint- 
ing, he  prepared  his  own  colors,  and  did  not  commit 
the  mixing  and  other  necessary  manipulations  to 
mechanics  and  boys.” 

Lanzi  says  that  Michael  Angelo  must  be  acknow- 
ledged supreme  in  that  peculiar  branch  of  the  pro- 
fession (the  nude),  at  which  he  aimed  in  all  his  works, 
especially  in  his  Last  Judgment.  “The  subject  ap- 
peared rather  created  J han  selected  by  him.  To  a 
genius  so  comprehend  ve,  and  so  skilled  in  drawing 
the  human  figure,  no  subject  could  be  better  adapt 
ed  than  the  Resurrection  ; and  to  an  artist  who  de- 
lighted in  the  awful,  no  story  more  suitable  than  the 
day  of  supernal  terrors.  He  saw  Raffaelle  preemi- 
nent in  every  other  department  of  the  art ; he  fore- 
saw that  in  this  alone  could  he  expect  to  be  tri- 
umphant ; and  perhaps  he  indulged  the  hope  that 
posterity  would  adjudge  the  palm  to  him  who  ex- 
celled all  others  in  the  most  arduous  wmlk  of  art.” 

“ The  Last  Judgment,”  says  Lanzi,  “ was  filled 
with  such  a profusion  of  nudity  that  it  was  in  great 
danger  of  being  destroyed,  from  a regard  to  the  de- 
cency of  the  sanctuary.  Paul  IV.  proposed  to 
whitewash  it,  and  was  hardly  appeased  with  the 
correction  of  its  most  glaring  indelicacies,  by  some 
drapery  introduced  here  and  there  by  Daniello 
da  Yolterra,  on  whom  the  facetious  Romans,  from 
this  circumstance,  conferred  the  nickname  of  the 


56  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

Breeches-maker .”  Other  corrections  were  proposed 
by  different  critics,  and  some  alterations  made.  An- 
gelo was  censured  for  mixing  sacred  with  profane 
history  ; for  introducing  the  angels  of  revelation  with 
the  Stygian  ferryman  ; Christ  sitting  in  judgment, 
and  Minos  assigning  his  proper  station  to  each  of 
the  damned.  To  this  profanity,  he  added  satire  ; in 
Minos,  he  portrayed  the  features  of  the  Master  of 
Ceremonies,  who  in  the  hearing  of  the  pope,  had 
pronounced  this  picture  more  suitable  for  a Bagnio 
than  a church  ; and  an  officic  as  Cardinal,  he  placed 
among  the  damned,  with  a fitnd  dragging  him  by 
the  testes  down  to  hell. 

MICHAEL  ANGELO’S  COLORING. 

The  coloring  of  Michael  Angelo  has  been  gene- 
rally criticised  as  being  too  cold  and  inharmonious, 
but  the  best  critics  now  consider  that  it  was  admira- 
bly adapted  to  his  design.  His  chief  characteristics 
were  grandeur  and  sublimity,  and  whatever  partook 
of  the  sublime  and  the  terrible,  he  portrayed  with  a 
fidelity  that  intimidates  the  beholder.  It  is  an  error 
to  suppose  that  he  could  not  color  delicately  and 
brilliantly  when  he  chose.  During  his  residence  at 
Florence,  he  painted  an  exquisite  Leda  for  Alphon- 
so,  Duke  of  Ferrara.  Michael  Angelo  was  so  much 
offended  at  the  manner  of  one  of  the  courtiers  of 
that  prince,  who  was  sent  to  bring  it  to  Ferrara, 
that  he  refused  to  let  him  have  it,  but  made  it  a 
present  to  his  favorite  pupil,  Antonio  Mini,  who  car- 


SCULPTORS,  AND  ARCHITECTS.  5* 

ried  it  to  France.  Vasari  describes  it  as  “ a grand 
picture,  painted  in  distemper,  that  seemed  as  if  it 
breathed  on  the  canvass”  ; and  Mariette,  in  his 
notes  on  Condivi,  affirms  that  he  saw  the  picture, 
and  that  “ Michael  Angelo  appeared  to  have  forgot 
his  usual  style,  and  approached  the  tone  of  Titian.” 
D’Argenville  informs  us  that  the  picture  was  de- 
stroyed by  fire  in  the  reign  of  Louis  XIII.  Lanzi 
says,  “ In  chiaro-scuro,  Michael  Angelo  had  not  the 
skill  and  delicacy  of  Correggio ; but  his  paintings 
in  the  Vatican  have  a force  and  relief  much  com- 
mended by  Eenfesthein,  an  eminent  connoisseur, 
who,  on  passing  from  the  Sistine  chapel  to  the  F ar- 
il esian  gallery,  remarked  how  greatly  in  this  respect 
the  Caracci  themselves  were  eclipsed  by  Buona- 
rotti.” 

MICHAEL  ANGELO’S  GRACE. 

“ It  is  a vulgar  error,”  says  Lanzi,  “ to  suppose 
that  Michael  Angelo  had  no  idea  of  grace  and 
beauty  ; the  Eve  in  the  Sistine  chapel  turns  to  tbank 
her  Maker,  on  her  creation,  with  an  attitude  so  fine 
and  lovely,  that  it  would  do  honor  to  the  school  of 
Baffaelle.  Annibale  Caracci  admired  this,  and 
many  other  naked  figures  in  this  grand  ceiling,  so 
highly  that  he  proposed  them  to  himself  as  models 
in  the  art,  and  according  to  Bellori,  preferred  them 
to  the  Last  Judgment,  which  appeared  to  him  to  be 
too  anatomical.” 


58 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


MICHAEL  ANGELO’S  OIL  PAINTINGS. 

It  has  long  been  a disputed  point  whether  Mi 
chael  Angelo  ever  painted  in  oil ; but  it  has  been  as- 
certained by  Lanzi  that  the  Holy  Family  in  the  Flo- 
rentine gallery,  which  is  the  only  picture  by  him 
supposed  to  be  painted  in  oil,  is  in  reality  in  distem- 
per. Many  of  his  designs,  however,  were  executed 
in  oil  by  his  cotemporaries,  especially  Sebastiano  del 
Piombo,  Jacopo  da  Pontormo,  and  Marcello  Ve- 
nusti.  Fresco  painting  was  better  adapted  to  the 
elevated  character  of  his  composition,  which  re- 
quired a simple  and  solid  system  of  coloring,  rather 
subdued  than  enlivened,  and  producing  a grand  and 
impressive  effect,  which  could  not  have  been,  ex- 
pressed by  the  glittering  splendor  of  oil  painting. 
There  are  many  oil  paintings  erroneously  attributed 
to  him  in  the  galleries  at  Pome,  Florence,  Milan, 
the  Imperial  gallery  at  Vienna,  and  elsewhere.  (See 
Spooner’s  Diet,  of  Painters,  Engravers,  Sculptors, 
and  Architects;  table  of  Imitators .) 

MICHAEL  ANGELO,  HIS  PROPHETS,  AND  JULIUS  II. 

When  Michael  Angelo,  had  finished  the  works  in 
the  Sistine  chapel  which  Julius  II.  had  commanded 
him  to  paint,  the  Pope,  not  appreciating  their  native 
dignity  and  simplicity,  told  him  that  “the  chapel  ap- 
peared cold  and  mean,  and  there  wmnted  some  bril- 
liancy of  coloring,  and  some  gilding  to  be  added  to 
it.”  “ Holy  father,”  replied  the  artist,  “ formerly 
men  did  not  dress  as  they  do  now,  in  gold  and  sil- 


SCULPTORS,  AND  ARCHITECTS. 


59 


ver  ; those  personages  whom  I have  represented  in 
raj  pictures'  in  the  chapel,  were  not  persons  of 
wealth,  but  saints,  who  were  divinely  inspired,  and 
despised  pomp  and  riches.” 

BON-MOTS  OF  MICHAEL  ANGELO. 

Michael  Angelo  was  a true  poet.  He  was  en- 
dowed with  a ready  wit  and  consummate  eloquence 
His  bon-mots,  recorded  by  Dati,  rival  those  of  the 
Grecian  painters,  and  he  was  esteemed  one  of  the 
most  witty  and  lively  men  of  his  time. 

When  he  had  finished  his  statue  of  Julius  II.  for 
the  Bok)gnese,  the  Pope  thought  it  too  severe,  and 
said  to  him,  il  Angelo,  my  statue  appears  rather  to 
curse  than  to  bless  the  good  people  of  Bologna.” 
“ Holy  father,”  replied  the  artist,  “ as  they  have  not 
always  been  the  most  obedient  of  your  subjects,  it 
will  teach  them  to  be  afraid  of  you,  and  to  behave 
better  in  future.” 

Under  the  pontificate  of  Julius  III.,  the  faction 
of  San  Gallo  went  so  far,  as  to  prevail  upon  the 
Pope  to  appoint  a committee  to  examine  the  fabric. 
Angelo  paid  no  attention  to  the  cavils  of  his 
enemies.  Finally  the  Pope  summoned  him  before 
him,  and  told  him  that  a particular  part  of  the 
church  was  too  dark.  u Who  told  you  that,  holy 
father?”  said  Angelo.  “I  did,”  interrupted  the 
Cardinal  Marcello.  “ Your  eminence  should  con- 
sider, then,”  said  the  artist,  casting  at  the  prelate  a 
look  of  cool  contempt,  “ that  besides  the  window 


60 


ANECDOTES  OF  PAINTERS,  ENGRAVERS 


there  is  at  present,  I have  designed  three  more  in 
the  ceiling  of  the  church !”  “ You  did  not  tell  me 

that,”  replied  the  Cardinal.  “ No  indeed,  I did  not, 
sir.  I am  not  obliged  to  tell  you  ; nor  would  I ever 
consent  to  be  obliged  to  tell  your  eminence,  or  any 
person  whomsoever,  anything  concerning  it.  Your 
business  is  to  take  care  that  money  is  plenty  at 
Rome  ; that  there  are  no  thieves  there  ; to  let  me 
alone ; and  to  permit  me  to  go  on  with  my  plan  as 
I please.” 

When  asked  why  he  did  not  marry,  he  replied 
that  “ his  art  was  his  mistress,  and  gave  him  trouble 
enough.”  Again,  that  “ an  artist  should  never 
cease  to  learn.”  When  told  that  some  one  had  per- 
formed a remarkable  feat  in  painting  with  his  fin- 
gers, he  said,  “ Why  don’t  the  blockhead  use  his 
brush  ?”  When  shown  Titian’s  Danae,  he  observed, 
“ What  a pity  these  Venetians  do  not  study  design.” 
Of  the  Gates  of  Ghiberti,  he  said,  “ they  are  fit  to 
adorn  the  portals  of  Paradise.” 

WASHINGTON  ALLSTON. 

“ Soon  after  Allston’s  marriage  with  his  first  wife, 
the  sister  of  the  late  Dr.  Channing,  he  made 
his  second  visit  to  Europe.  After  a residence  there 
of  a little  more  than  a year,  his  pecuniary  wants  be- 
came very  pressing  and  urgent — more  so  than  at 
any  other  period  of  his  life.  On  one  of  these  occa- 
sions, as  he  himself  used  to  narrate  the  event,  he 
was  in  his  studio,  reflecting  with  a feeling  of  almost 


SCULPTORS,  AND  ARCHITECTS. 


61 


desperation  upon  his  condition.  His  conscience 
seemed  to  teh  him  that  he  had  deserved  his  afflic- 
tions, and  drawn  them  upon  himself,  by  his  want  of 
due  gratitude  for  past  favors  from  heaven.  His 
heart,  all  at  once,  seemed  filled  with  the  hope  that 
God  would  listen  to  his  prayers,  if  he  would  offer 
up  his  direct  expressions  of  penitence,  and  ask  for 
divine  aid.  He  accordingly  locked  his  door,  with- 
drew to  a corner  of  the  room,  threw  himself  upon 
his  knees,  and  prayed  for  a loaf  of  bread  for  him- 
self and  his  wife.  While  thus  employed,  a knock 
was  heard  at  the  door.  A feeling  of  momentary 
shame  at  being  detected  in  this  position,  and  a feel- 
ing of  fear  lest  he  might  have  been  observed,  in- 
duced him  to  hasten  and  open  the  door.  A stran- 
ger inquired  for  Mr.  Allston.  He  was  anxious  to 
learn  who  was  the  fortunate  purchaser  of  the  paint- 
ing of  “ Angel  Uriel,”  regarded  by  the  artist  as  one 
of  his  masterpieces,  and  which  had  won  the  prize 
at  the  exhibition  of  the  Academy.  He  was  told 
that  it  had  not  been  sold.  “ Can  it  be  possible  ? 
Not  sold  ! Where  is  it  to  be  had  ?”  “ In  this  very 

room.  Here  it  is,”  producing  the  painting  from  a 
corner,  and  wiping  off  the  dust.  “It  is  for  sale — 
but  its  value  has  never  yet,  to  my  idea  of  its  worth, 
been  adequately  appreciated— and  I would  not  part 
with  it.”  “ What  is  its  price  ?”  “I  have  done  affix- 
ing any  nominal  sum.  I have  always,  so  far,  ex- 
ceeded my  offers.  I leave  it  for  you  to  name  the 
price.”  “ Will  four  hundred  pounds  be  an  adequate 


62 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


recompense-?”  “ It  is  more  than  I have  ever  asked 
for  it.”  “ Then  the  painting  is  mine.”  The  stran- 
ger introduced  himself  as  the  Marquis  of  Stafford ; 
and  lie  became,  from  that  moment,  one  of  the  warm- 
est friends  of  Mr.  Allston.  By  him  Mr.  A.  was 'in- 
troduced to  the  society  of  the  nobility  and  gentry  ; 
and  he  became  one  of  the  most  favored  among  the 
many  gifted  minds  that  adorned  the  circle,  in  which 
he  was  never  fond  of  appearing  often. 

The  instantaneous  relief  thus  afforded  by  the  lib- 
erality of  this  noble  visitor,  was  always  regarded  by 
Allston  as  a direct  answer  to  his  prayer,  and  it  made 
a deep  impression  upon  his  mind.  To  this  event  he 
was  ever  after  wont  to  attribute  the  increase  of  de- 
votional feelings  which  became  a prominent  trait  in 
his  character.” — Boston  Atlas. 

ALLSTON’S  DEATH. 

“ Notwithstanding  the  general  respect  which  is 
manifested  to  the  memory  of  this  distinguished  art- 
ist, there  are  unsympathising,  ice-hearted  men  of 
the  world  who  yet  reproach  him  for  uncontrollable 
events  in  his  career. 

The  actions  of  the  painter,  the  poet,  and  the  mu- 
sician, are  dictated  often  by  other  motives  than  those 
impelling  the  arm  of  the  mechanic,  or  the  tongue  of 
the  advocate.  Men  of*  genius  are  of  a more  deli- 
cate organization  than  those  possessing  inferior  abil- 
ities, and  are  swayed  by  emotions  the  most  lofty 
that  can  actuate  humanity.  The  world’s  neglect, 


SCULPTORS,  AND  ARCHITECTS. 


63 


the  contempt  of  critics,  depressed  spirits  induced  by 
pecuniary  embarrassments,  bla-st  their  hopes,  erer- 
vate  their  energies,  and  deprive  them  of  the  potency 
to  cope  with  the  heartless  world. 

Men  there  are  who  would  visit  the  generous  All- 
ston  with  censure,  because,  while  laboring  under  dis- 
appointments, ill  health,  and  crushed  anticipations, 
he  failed  to  finish  his  painting  of  Belshazzar’s  Feast, 
a theme  that  possibly  became  uncongenial  to  his 
pencil.  May  their  ill  feeling  be  forgotten,  and,  if 
the  fountain  of  their  sympathies  be  not  wdiolly  dried 
up,  may  it  yield  a little  lenity  towards  one  of  Amer- 
ica’s noblest  sons. 

It  may  not  be  inappropriate  to  insert  a tribute  to 
the  memory  of  Allston,  which  will  serve  to  vindi- 
cate his  character  from  his  aspersers,  and  exhibit  it 
as  traced  by  one  for  many  years  connected  with 
him  by  the  dearest  ties  of  friendship  : 

‘ Paris.  November,  1843. 

The  Duke  de  Luynes,  a French  nobleman,  has 
lately  given  a commission  to  Monsieur  Ingres,  the 
painter,  recently  Director  of  the  French  Academy 
of  Arts  in  Borne,  to  decorate  his  palace  at 
Dampierre  with  a series  of  pictures,  the  subjects  of 
which  I have  not  heard.  One  hundred  thousand 
francs  are  allowed  to  the  artist  for  this  work.  M. 
Ingres  was  a student  at  Borne,  pensioned  by  his 
government,  at  the  time  Mr.  W.  Allston  and  my- 


64 


ANECDOTES* OF  PAINTERS,  ENGRAVERS, 


self  were  there  pursuing  the  same  studies — not, 
however,  aided  by  a government. 

"When  the  melancholy  news  of  the  death  of  my 
much  regretted  friend  and  fellow  artist  reached 
here,  which  was  about  the  time  the  above  favor  was 
granted  to  M.  Ingres,  I could  not  but  reflect  on  the 
less  fortunate  destiny  of  our  highly  accomplished 
countryman,  whose  muse,  alas ! was  doomed  to 
linger  out  a languid  existence  in  a state  of 
society  unfavorable  to  the  arts,  or  at  least  where 
there  was  little  to  encourage  and  sustain  them,  com- 
pared with  the  capitals  in  Europe  where  he  had  lived 
and  studied.  Such  an  indifference  to  the  arts  is  not 
confined  to  one  section  of  our  country,  but  pervades 
the  whole  United  States. 

It  is  indeed  a subject  of  regret  that  so  highly- 
gifted  an  artist  should  not  have  been  commissioned 
to  ornament  some  public  building,  or  private  man- 
sion of  opulence,  with  a series  of  pictures  in  the 
free  style  of  fresco,  comprising  poetical  designs  and 
landscapes,  in  which  he  was  so  superior,  instead  of 
being  subjected  to  finish  a picture  which,  from  some 
cause,  he  had  become  dissatisfied  with,  for  the  pros- 
ecution of  which  he  found  himself  debarred  of  even 
the  advantages  of  models  and  costume,  not  to  men- 
tion those  of  a less  material  nature — the  absence  of 
all  the  great  models  of  art  to  kindle  and  inspire  his 
genius,  etc.  A work  of  the  kind  before  suggested 
would  admit  of  a free  execution,  independent  in  a 
degree  of  models  and  costume.  Such  a commis 


SCULPTORS,  AND  ARCHITECTS. 


65 


sion,  I am  persuaded,  would  have  cheered  up  his 
spirit,  and  called  forth  fresh  images  from  his  fancy. 
It  is  ever  to  be  regretted  that  he  was  not  employed 
in  this  way ; had  he  been,  our  country  would  no 
doubt  have  had  a beautiful  creation  from  a highly 
cultivated  and  poetic  mind,  now  forever  lost. 

No  one  who  was  ever  acquainted  with  the  sub- 
ject of  this  notice,  but  must  feel  sincere  regret,  also, 
that  so  fair  and  amiable  a character  was  not  soothed 
in  his  latter  years  with  all  the  ease  and  comfort  of 
mind  and  body  that  the  world  could  bestow,  which 
thus  far  has  been  seldom  if  ever  the  lot  of  his  pro- 
fession in  our  country.  How  many  there  are  who 
have  not  undergone  half  the  fatigue,  physical  or 
mental,  endured  by  Mr.  Allston — not  to  mention  the 
far  greater  amount  of  time  and  money  expended  in 
the  acquisition  of  his  profession  than  in  most  other 
pursuits — yet  have  secured  to  themselves  the  means 
to  reach  the  decline  of  life  in  a condition  to  assure 
ease  and  comfort.  Such  is  the  unequal  compensa- 
tion of  the  world. 

When  I look  back  some  five  or  six-and-thirty 
years,  when  we  were  both  in  Home,  and  next-door 
neighbors  on  the  Trinita  del  Monte , and  in  the 
spring  of  life,  full  of  enthusiasm  for  our  art,  and 
fancying  fair  prospects  awaiting  us  in  after  years — 
and  few  certainly  had  more  right  than  my  worthy 
colleague  to  look  towards  such  a futurity — it  is 
painful  to  reflect  how  far  these  hopes  have  been  from 
being  realized.  Such  may  be  the  lot  of  a great 


66 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


many ; still  we  may  believe  and  hope  that  so  melan- 
choly an  example  rarely  occurs. 

J.  Vanderlyn.’ 

The  Art-Union  of  New- York  have  struck  a com- 
memorative medal,  with  Allston’s  face  on  the  ob- 
verse side ; and  thus  is  the  great  artist  rewarded. 

Genius,  that  breaks  the  fetters  encircling  the  mind, 
is  fated  to  drink  life’s  bitterest  cup  to  the  dregs. 
After  earth  has  flung  the  gem  away,  she  proclaims 
its  value. 

Reformers  must  be  martyrs.  Every  Socrates 
must  quaff  his  hemlock— every  Burns  pine  in  un- 
pitied poverty.  In  life,  the  artist  appears  on  the  re- 
verse side  of  the  world’s  medal — in  death,  on  the 
obverse.” — Dewey  Fay. 

AMERICAN  PATRONAGE  AT  HOME  AND  ABROAD. 

The  writer  has  frequently  heard  our  artists  bit- 
terly complain  of  the  meanness  of  their  countrymen 
in  patronizing  everything  foreign,  not  only  at  home 
but  abroad.  It  is  mortifying  enough  to  them  to  see* 
the  palaces  of  many  of  our  merchant  princes  dis- 
graced, not  adorned,  with  a multitude  of  modern  flashy 
French  pictures,  without  a single  piece  by  a native 
artist.  How  cutting  then  must  be  the  slight  to 
those  young  artists,  who,  having  gone  to  Italy  for 
improvement,  are  visited  in  their  studios,  by  their 
countrymen,  who,  desirous  of  bringing  home  some 
copies  of  favorite  pictures,  give  their  commissions 
to  foreigners.  Our  young  artists,  during  their  resi-  % 


SCULPTORS,  AND  ARCHITECTS. 


67 


dence  abroad,  are  generally  poor,  and  frequently 
undergo  every  privation  to  enable  them  to  achieve 
the  object  of  their  ambition:  Weir  says  that  at 

one  time  during  his  residence  at  Rome,  he  was 
obliged  “to  live  on  ten  cents  a day  for  a month.’7 
Greenough,  during  his  second  visit  to  Italy,  was 
almost  driven  to  despair.  Mr.  J.  Fenimore  Cooper 
found  him  in  this  deplorable  state  in  1829,  and  gave 
him  a commission  for  his  beautiful  group  of  Chant- 
ing Cherubs.  He  had  already  distinguished  him- 
self by  several  admirable  busts  of  John  Quincy 
Adams,  Chief  Justice  Marshall,  Henry  Clay,  and 
others,  but  this  was  the  first  commission  he  had  ever 
received  for  a group.  The  grateful  sculptor  says 
in  a letter  to  Mr.  Dunlap,  “ Mr.  Fenimore  Cooper 
saved  me  from  despair,  after  my  second  return  to 
Italy.  He  employed  me  as  I wished  to  be  em- 
ployed ; and  has,  up  to  this  moment,  been  a father 
to  me  in  kindness.” 

Mr.  Cooper,  in  a letter  published  in  the  New 
York  American,  April  30,  1831,  says : 

“ Most  of  our  people,  who  come  to  Italy,  employ 
the  artists  of  the  country  to  make  copies,  under 
the  impression  that  they  will  be  both  cheaper  and 
better,  than  those  done  by  Americans,  studying 
here.  My  own  observation  has  led  me  to  adopt  a 
different  course.  I am  well  assured  that  few  things 
are  done  for  us  by  Europeans,  under  the  same  sense 
of  responsibility,  as  when  they  work  for  customers 
near  home.  The  very  occupation  of  the  copyist,  in 


68 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


fers  some  want  of  that  original  capacity,  without 
which  no  man  can  impart  to  a work,  however  exact 
it  may  be  in  its  mechanical  details,  the  charm  of  ex- 
pression. In  the  case  of  Mr.  Greenough,  I was  led 
even  to  try  the  experiment  of  an  original.  The  dif- 
ference in  value  between  an  original  and  a copy  is  so 
greatly  in  favor  of  the  former,  with  anything  like  ap- 
proach to  success,  that  I am  surprised  that  more  of 
our  amateurs  are  not  induced  to  command  them. 
The  little  group  I have  sent  home,  (the  Chanting 
Cherubs)  will  always  have  an  interest  that  can  be- 
long to  no  other  work  of  the  same  character.  It  is 
the  first  effort  of  a young  artist  who  bids  fair  to 
build  for  himself  a name,  and  whose  life  will  be 
connected  with  the  history  of  the  art  in  that  country 
which  is  so  soon  to  occupy  such  a place  in  the  world. 
It  is  more  ; it  is  probably  the  first  group  ever  com- 
pleted by  an  American  sculptor.” 

When  this  beautiful  group  had  been  exhibited  a 
sufficient  time  in  the  United  States,  to  bring  its 
merits  before  the  public,  Mr.  Cooper,  in  the  hope 
of  influencing  the  government  to  employ  Greenough 
on  a statue  of  Washington,  wrote  to  the  President, 
and  to  Mr.  Me  Lane  the  Secretary  of  the  Treasury, 
strongly  urging  the  plan  of  a statue  of  the  “ Father 
of  his  Country,”  by  the  first  American  sculptor  who 
had  shown  himself  competent  to  so  great  a task. 
He  was  successful,  and  Congress  commissioned 
Greenough  to  execute  a statue  of  Washington  for 
the  Capitol.  The  sculptor  received  the  intelligence 


SCULPTORS,  AND  ARCHITECTS. 


69 


with  transports  of  delight,  but  when  he  had  had  time 
for  reflection,  he  modestly  began  to  doubt  his  abili- 
ty to  do  justice  to  his  subject,  and  “ answer  all  the 
expectations  of  his  friends.”  “ When  I went,”  says 
he,  “ the  other  morning,  into  the  large  room  in  which 
I propose  to  execute  my  statue,  I felt  like  a spoiled 
boy,  who,  after  insisting  upon  riding  on  horseback, 
bawled  aloud  with  fright,  at  finding  himself  in  the 
saddle,  so  far  from  the  ground  !” 

Is  it  not  a burning  shame,  that  the  most  gifted 
artists  of  this  great  and  glorious  country  should  be 
compelled  to  go  abroad  to  seek  both  fame  and 
bread,  not  fortune  ? What  merchant  prince  will 
set  his  countrymen  an  example,  and,  like  Sir  George 
Beaumont,  bribe  Congress  and  his  fellow  citizens  to 
form  a national  gallery,  by  giving  a collection  of 
casts  from  the  antique,  first  class  paintings  and  en- 
gravings, rare  works  of  art,  and  a library  on  art,  worth 
70,000  guineas  ? It  is  a mistaken  opinion,  enter- 
tained by  many,  that  the  fine  arts  are  of  little  im- 
portance to  our  country.  On  the  contrary,  every 
person  is  directly  interested.  A foreign  writer  ob- 
serves that,  “ silver-plating  in  the  United  States,  is 
what  tin-smithery  is  in  Paris.”  Puseli  terms  Ven- 
ice “the  toy-shop  of  Europe;”  better  Paris.  What 
a multitude  of  people  are  supported  in  that  great 
city  by  the  manufacture  of  ten  thousand  fabrics, 
exquisitely  designed  and  executed.  The  Parisians 
have  a keen  perception  of  the  beautiful,  simply  from 
being  educated  in  a city  abounding  with  galleries 


70 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


and  the  best  models  of  art,  or  as  Reynolds  terms  it, 
“ the  accumulated  genius  of  ages.” 

RAFFAELLE  SANZIO  DI  URBINO. 

By  the  general  approbation  of  mankind,  this  illus- 
trious artist  has  been  styled  “ the  prince  of  modern 
painters.”  He  is  universally  acknowledged  to  have 
possessed  a greater  combination  of  the  excellencies 
of  art  than  has  fallen  to  the  lot  of  any  other  indi- 
vidual. It  is  a remarkable  fact,  mentioned  by  many 
artists  and  writers,  that  the  most  capital  frescoes  of 
Ratfaelle  in  the  Vatican,  do  not  at  first  strike  the  be- 
holder with  surprise,  nor  satisfy  his  expectations  ; 
but  as  he  begins  to  study  them,  he  constantly  dis- 
covers new  beauties,  and  his  admiration  continues  to 
increase  with  contemplation. 

RAFFAELLE’S  AMBITION. 

Baffaelle  was  inspired  by  the  most  unbounded 
ambition;  the  efforts  of  Michael  Angelo  to  sup- 
plant him  only  stimulated  him  to  greater  exertions ; 
and,  on  his  death-bed,  he  thanked  God  he  was  born 
in  the  days  of  Buonarotti.  He  was  instructed  in 
the  principles  of  architecture  for  six  years  by  Bra- 
mante,  that  on  his  death  he  might  succeed  him  in 
superintending  the  erection  of  St.  Peter’s.  He 
lived  among  the  ancient  sculptures,  and  derived 
from  them  not  only  the  contours,  drapery,  and  atti- 
tudes, but  the  spirit  and  principles  of  the  art.  Not 
content  with  what  he  saw  at  Rome,  he  employed 


SCULPTORS,  AND  ARCHITECTS.  71 

able  artists  to  copy  the  remains  of  antiquity  at  Poz- 
zuolo,  throughout  all  Italy,  and  even  in  Greece.  It 
is  also  probable  that  he  derived  much  assistance 
from  living  artists,  whom  he  consulted  in  regard  to 
his  compositions.  The  universal  esteem  which  he 
enjoyed,  his  attractive  person,  and  his  engaging 
manners,  which  all  authors  unite  in  describing  as 
incomparable,  conciliated  the  favor  of  the  most  emi- 
nent men  of  letters,  as  Bembo,  Oastiglione,  Giovio, 
Navagero,  Ariosto,  Pulvio,  Calcagnini,  etc.,  who  set 
a high  value  on  his  friendship,  and  were  doubtless 
ready  to  supply  him  with  many  valuable  hints  and 
ideas. 

EAFFAELLE  AND  MICHAEL  ANGELO. 

“ Michael  Angelo,  his  rival,”  says  Lanzi,  “ con- 
tributed not  a little  to  the  success  of  Eaffaelle.  As 
the  contest  between  Zeuxis  and  Parrhasius  was  ben- 
eficial to  both,  so  the  rivalship  of  Buonarotti  and 
Sanzio  aided  the  fame  of  Michael  Angelo,  and  pro- 
duced the  paintings  in  the  Sistine  chapel ; and  at 
the  same  time  contributed  to  the  celebrity  of  Eaffa^ 
eile,  by  producing  the  pictures  in  the  Vatican,  and 
not  a few  others.  Michael  Angelo,  disdaining  any 
secondary  honors,  came  to  the  combat,  as  it  were, 
attended  by  his  shield-beare**,  for  he  made  drawings 
in  his  grand  style,  and  then  gave  them  to  Fra  Sebas- 
tiano  del  Piombo,  the  scholar  of  Giorgione,  to  exe- 
cute ; and,  by  this  means,  he  hoped  that  Eaffaelle 
would  never  be  able  to  rival  his  productions,  either 


72 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


in  design  or  color.  Kaffaelle  stood  alone,  but  a.med 
at  producing  works  with  a degree  of  perfection  be' 
yond  the  united  efforts  of  Michael  Angelo  and  F. 
Sebastiano,  combining  in  himself  a fertile  imagina- 
tion, ideal  beauty  founded  on  a correct  imitation  of 
the  Greek  style,  grace,  ease,  amenity,  and  a univer- 
sality of  genius  in  every  department  of  art.  The 
noble  determination  of  triumphing  in  such  a power- 
ful contest  animated  him  night  and  day,  and  allowed 
him  no  respite.  It  also  animated  him  to  surpass 
both  his  rivals  and  himself  in  every  new  work.” 

RAFFAELLE’S  TRANSFIGURATION. 

“ This  great  artist”  (Michael  Angelo),  says  Va- 
sari, “had  felt  some  uneasiness  at  the  growing  fame 
of  Kaffaelle,  and  he  gladly  availed  himself  of  the 
powers  of  Sebastiano  del  Piombo,  as  a colorist,  in 
the  hope  that,  assisted  by  his  designs,  he  might  be 
enabled  to  enter  the  lists  successfully  with  his  illus- 
trious antagonist,  if  not  to  drive  him  from  the  field. 
With  this  view,  he  furnished  him  with  the  designs 
for  the  Pieta  in  the  church  of  the  Conventuali  at 
Viterbo,  and  the  Transfiguration  and  Flagellation, 
in  S.  Pietro  m Montorio,  at  Pome,  which,  as  he  was 
very  tedious  in  the  process,  occupied  him  six  years.” 
It  wras  at  this  juncture  that  the  Cardinal  de  Medici 
commissioned  Kaffaelle  to  paint  a picture  of  the 
Transfiguration,  and  in  order  to  stimulate  the  rivalry, 
he  engaged  Sebastiano  to  paint  one  of  the  Resurrec- 
tion of  Lazarus,  of  precisely  the  same  dimensions 


SCULPTORS,  AND  ARCHITECTS. 


73 


for  his  Cathedral  of  Narbonne.  That  Sebastiano 
might  enter  the  lists  with  some  chance  of  success, 
he  was  again  assisted  by  Buonarotti,  who  composed 
and  designed  the  picture.  On  this  occasion,  Raffa- 
elle  exerted  his  utmost  powers,  triumphed  over  both 
his  competitors,  and  produced  that  immortal  picture 
which  has  received  the  most  unqualified  approba- 
tion of  mankind  as  the  finest  picture  in  the  world. 
Both  pictures  were  publicly  exhibited  in  competi- 
tion, and  the  palm  of  victory  was  adjudged  to  Raf- 
faelle — the  Transfiguration  was  pronounced  inimita- 
ble in  composition,  in  design,'  in  expression,  and  in 
grace.  This  sublime  composition  represents  the 
mystery  of  Christ’s  Transfiguration  on  Mount  Ta- 
bor. At  the  foot  of  the  Mount  is  assembled  a mul- 
titude, among  whom  are  the  Disciples  of  our  Lord, 
endeavoring  in  vain  to  relieve  a youth  from  the  do- 
minion of  an  evil  spirit.  The  various  emotions  of 
human  doubt,  anxiety,  and  pity,  exhibited  in  the 
different  figures,  present  one  of  the  most  pathetic 
incidents  ever  conceived  ; yet  this  part  of  the  com- 
position does  not  fix  the  attention  so  much  as  the 
principal  figure  on  the  summit  of  the  mountain. 
There  Christ  appears  elevated  in  the  air,  surrounded 
with  a celestial  radiance,  between  Moses  and  Elias, 
while  the  three  favored  Apostles  are  kneeling  in  de- 
vout astonishment  on  the  ground.  The  head  and 
attitude  of  the  Saviour  are  distinguished  by  a divine 
majesty  and  sublimity,  that  is  indescribable. 


74  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

DEATH  OF  RAFFAELLE. 

"With  his  incomparable  work  of  the  Transfigura- 
tion, ceased  the  life  and  the  labors  of  Raffaelle ; he 
did  not  live  to  entirely  complete  it,  and  the  few  re- 
maining parts  were  finished  by  his  scholar,  G-iulio 
Romano.  Wliile  engaged  upon  it,  he  was  seized 
with  a fever,  of  which  he  died  on  his  birth- day, 
Good  Friday,  April  7th,  1520,  aged  37  years.  His 
body  lay  in  state  in  the  chamber  where  he  had  been 
accustomed  to  paint,  and  near  the  bier  was  placed 
the  noble  picture  of  the  Transfiguration.  The 
throngs  who  came  to  pay  their  respects  to  the  illus- 
trious artist  were  deeply  affected  ; there  was  not  an 
artist  in  Rome  but  was  moved  to  tears  by  the  sight, 
and  his  death  was  deplored  throughout  Italy  as  a 
national  calamity.  The  funeral  ceremony  was  per- 
formed with  great  pomp  and  solemnity,  and  his  re- 
mains were  interred  in  the  church  of  the  Rotunda, 
otherwise  called  the  Pantheon.  The  Cardinal  Bem- 
bo,  at  the  desire  of  the  Pope,  wrote  the  epitaph 
which  is  now  inscribed  on  his  tomb. 

CHARACTER  OF  RAFFAELLE. 

All  cotemporary  writers  unite  in  describing  Raffa- 
elle  as  amiable,  modest,  kind,  and  obliging ; equally 
respected  and  beloved  by  the  high  and  the  low. 
His  beauty  of  person  and  noble  countenance  inspired 
confidence,  and  strongly  prepossessed  the  beholder 
in  his  favor  at  first  sight.  Respectful  to  the  memo- 
ry of  Perugino,  and  grateful  for  the  instructions  he 


I 


SCULPTORS,  AND  ARCHITECTS.  75 

had  received  from  him,  he  exerted  all  his  influence 
with  the  Pope,  that  the  worts  of  his  master  in  one 
of  the  ceilings  of  the  Vatican  might  be  spared, 
when  the  other  paintings  were  destroyed  to  make 
room  for  his  own  embellishments.  Just  and  gene- 
rous to  his  cotemporaries,  though  not  ignorant  of 
their  intrigues,  he  thanked  God  that  he  had  been 
born  in  the  days  of  Buonarotti.  Gracious  towards 
his  pupils,  he  loved  and  instructed  them  as  his  own 
sons  ; courteous  even  to  strangers,  he  cheerfully  ex- 
tended his  advice  to  all  who  asked  it,  and  in  order 
to  make  designs  for  others,  or  to  direct  them  in 
their  studies,  he  had  been  known  to  neglect  his  own 
works,  rather  than  refuse  them  his  assistance. 

LA  BELLA  FORK  ARINA. 

Raffaelle  was  never  married,  though  by  no  means 
averse  to  female  society.  The  Cardinal  da  Bibiena 
offered  him  his  niece,  which  high  alliance  he  is  said 
to  have  declined  because  the  honors  of  the  purple 
were  held  out  to  him  by  the  Pope,  who  favored  him 
greatly,  and  made  him  groom  of  his  chamber.  Early 
in  life  he  became  attached  to  a young  woman,  the 
daughter  of  a baker  at  Pome,  called  by  way  of  dis- 
tinction, La  Bella  Fornarina,  to  whom  he  was  solely 
and  constantly  attached,  and  he  left  her  in  his  will 
sufficient  for  an  independent  maintenance.  The  rest 
of  his  property  he  bequeathed  to  a relative  in  TJr- 
bino,  and  to  his  favorite  scholars,  Giulio  Bomano, 
and  Gio.  Francesco  Penni. 


76 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


THE  GENIUS  OF  RAFFAELLE. 

Raffaelle  possessed  in  an  eminent  degree  all  the 
qualities  necessary  to  constitute  a preeminent  paint- 
er. When  we  consider  the  number  of  his  paintings, 
and  the  multitude  of  his  designs,  (it  is  said  he  left 
behind  him  287  pictures,  and  576  cartoons,  draw- 
ings, and  studies)  to  which  he  devoted  so  much 
study,  as  is  shown  in  his  numerous  sketches  of  Ma- 
donnas and  Holy  Families,  &c.,  and  especially  his 
great  works  in  the  Vatican,  in  which,  in  many  cases, 
he  drew  all  the  figures  naked,  in  order  the  better  to 
adapt  the  drapery  and  its  folds  to  their  respective 
attitudes ; and  further,  his  supervision  of  the  build- 
ing of  St.  Peter’s  church,  his  admeasurements  of 
the  ancient  edifices  ' of  Rome  with  exact  drawings 
and  descriptions,  the  preparation  of  designs  for  va- 
rious churches  and  palaces,  with  several  collateral 
tasks,  it  seems  incredible  that  even  a long  life  were 
sufficient  for  their  execution ; and  when  we  further 
reflect  that  he  accomplished  all  this  at  an  age  when 
most  men  only  begin  to  distinguish  themselves,  we 
are  struck  with  astonishment  at  the  wonderful  fe- 
cundity of  his  genius. 

RAFFAELLE’S  MODEL  FOR  HIS  FEMALE  SAINTS. 

“ His  own  Fornarina,”  says  Lanzi,  u assisted  him 
in  this  object.  Her  portrait  by  Raffaelle’s  own  hand 
was  formerly  in  the  Barberini  Palace,  and  it  is  re- 
peated in  many  of  his  Madonnas,  in  the  picture  of 
St.  Cecilia  at  Bologna,  and  in  many  female  heads.” 


77 


SCULPTORS,  AND  ARCHITECTS. 

RAFFAELLE’S  OIL  PAINTINGS. 

“ Of  his  oil  paintings,”  says  Lanzi,  “ a considers 
ble  number  are  to  be  found  in  private  collections, 
particularly  on  sacred  subjects,  such  as  the  Madon- 
na and  Child,  and  other  compositions  of  the  Holy 
Family.  They  are  in  three  styles,  which  we  have 
before  described  : the  Grand  Duke  of  Florence  has 
some  specimens  of  each.  The  most  admired  is  that 
which  is  named  the  Madonna  della  Seggiola.  Of 
this  class  of  pictures  it  is  often  doubted  whether 
they  ought  to  be  considered  as  originals  or  copies, 
as  some  of  them  have  been  three,  five,  or  ten  times 
repeated.  The  same  may  be  said  of  other  cabinet 
pictures  by  him,  particularly  the  St.  John  in  the 
Desert,  which  is  in  the  Grand  Ducal  gallery  at  Flor- 
ence, and  is  found  repeated  in  many  collections  both 
in  Italy  and  other  countries.  This  was  likely  to 
happen  in  a school  where  the  most  common  mode 
was  the  following  : — The  subject  was  designed  by 
Eafiaello,  the  picture  prepared  by  Giulio,  and  fin- 
ished by  the  master  so  exquisitely,  that  one  might 
almost  count  the  hairs  of  the  head.  "When  pictures 
were  thus  finished,  they  were  copied  by  the  scholars 
of  Eafiaello,  who  were  very  numerous,  and  of  the 
second  and  third  order ; and  these  were  also  some- 
times retouched  by  Giulio  and  by  Eafiaello  himself. 
But  whoever  is  experienced  in  the  freedom  and  deli- 
cacy of  the  chief  of  this  school,  need  not  fear  con- 
founding his  productions  with  those  of  the  scholars, 
or  Giulio  himself;  who,  besides  having  a more 


78  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

timid  pencil,  made  use  of  a darker  tint  than  his 
master  was  accustomed  to  do,  I have  met  with  an  ex- 
perienced person,  who  declared  that  he  could  recog- 
nize the  character  of  Giulio  in  the  dark  parts  of  the 
flesh  tints,  and  in  the  middle  dark  tints,  not  of  a 
leaden  color  as  Kaffaello  used,  nor  so  well  harmon- 
ized ; in  the  greater  quantity  of  light,  and  in  the 
eyes  designed  more  roundly,  which  Baffaello  paint- 
ed somewhat  long,  after  the  manner  of  Pietro  Pe- 
rugino.” 

PORTRAITS  OF  POPE  JULIUS  II. 

There  are  no  less  than  eight  portraits  of  Julius 
II.  attributed  to  Raffaelle.  1.  The  original,  by 
Raffaelle’s  own  hand,  is  in  the  Palazzo  Pitti  at  Flor- 
ence, the  best  of  all ; 2.  a scarcely  inferior  one  in 
the  Tribune  of  the*  Florentine  Gallery;  3.  one  in 
the  English  National  Gallery,  from  the  Falconieri 
Palace  at  Pome ; 4.  a v^y  fine  one,  formerly  in  the 
Orleans  Gallery;  5.  an  inferior  one  in  the  Corsini 
Palace  at  Pome ; 6.  a very  fine  one  in  the  Borghese 
Gallery  at  Pome ; 7.  one  at  Berlin,  from  the  Gius- 
tinian  Gallery ; 8.  one  in  the  possession  of  Count 
Torlonia  at  Pome.  Most  of  these  are  doubtless  cop- 
ies by  Paflaelle’s  scholars,  some  of  them  finished  by 
himself.  The  original  cartoon  is  preserved  in  the 
Corsini  Palace  at  Florence. 

MANNERS  OF  RAFFAELLE. 

Paffaelle  had  three  manners  ; first,  that  of  hie  in- 
structor, Pietro  Perugino,  hence  many  exquisite  pic- 


SCULPTORS,  AND  ARCHITECTS 


7S 


tures  in  the  style  of  that  master  are  erroneously  at- 
tributed to  him  ; second,  the  same,  modified  by  his 
residence  and  studies  at  Florence,  which  continued 
till  his  completion  of  the  Theology  in  the  Vatican, 
though  constantly  improving;  and  the  third,  his 
own  grand  original  manner,  commencing  with  the 
school  of  Athens.  For  a very  full  life  of  Kaffaelle, 
with  Lanzi’s  admirable  critique,  see  Spooner’s  Dic- 
tionary of  Painters,  Engravers,  Sculptors,  and  Ar- 
chitects. 


PETER  PAUL  RUBENS. 

This  preeminent  painter,  accomplished  scholar, 
and  skillful  diplomatist,  was  born  at  Antwerp  in 
1577,  on  the  feast  day  of  St.  Peter  and  St.  Paul,  for 
which  reason  he  received  at  the  baptismal  font  the 
names  of  those  Apostles.  Eubens,  in  his  earliest 
years,  discovered  uncommon  ability,  vivacity  of  gen- 
ius, literary  taste,  and  a mild  and  docile  disposition. 
His  father,  intending  him  for  one  of  the  learned  pro- 
fessions, gave  him  a very  liberal  education,  and  on 
the  completion  of  his  studies,  placed  him  as  a page 
with  the  Countess  of  Lalain,  in  order  that  his  son 
might  acquire  graceful  and  accomplished  manners, 
so  important  to  success  in  a professional  career. 
His  father  dying  soon  afterwards,  young  Eubens 
obtained  the  permission  of  his  mother,  to  follow  the 
bent  of  his  genius.  He  studied  under  several  mas- 
ters, the  last  of  wdiom  was  the  celebrated  Othc 
Venius.  He  made  such  extraordinary  progress, 


so 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


that  when  he  had  reached  his  twenty-third  year, 
Venius  frankly  told  him  that  he  could  be  of  no  fur- 
ther service  to  him,  and  that  nothing  more  remained 
for  his  improvement  but  a journey  to  Italy,  which 
he  recommended  as  the  surest  means  of  ripening  his 
extraordinary  talents  to  the  greatest  perfection. 

RUBENS’  VISIT  TO  ITALY. 

Eubens  having  secured  the  favor  and  patronage 
of  the  Archduke  Albert,  governor  of  the  Nether- 
lands, for  whom  he  executed  several  pictures,  set 
out  for  Italy,  with  letters  from  his  patron,  recom- 
mending him  in  the  most  honorable  manner  to  the 
Duke  of  Mantua,  that  at  his  court  he  might  have  ac- 
cess to  his  admirable  collection  of  paintings  and  an- 
tique statues.  He  was  received  with  the  most  marked 
distinction  by  the  Duke,  who  took  him  into  his  ser- 
vice, and  appointed  him  one  of  the  gentlemen  of  his 
bed-chamber,  an  honor  which  was  the  more  accep- 
table to  Eubens,  as  it  gave  him  greater  facility  for 
studying  the  great  works  of  Giulio  Eomano  in  the 
Palazzo  del  Te,  which  were  the  objects  of  his  par- 
ticular admiration. 

RUBENS’  ENTHUSIASM. 

Giulio  Eomano’s  masterly  illustrations  of  the  sub- 
lime poetry  of  Homer  excited  Eubens’  emulation  in 
the  highest  degree.  One  day,  while  he  was  en- 
gaged in  painting  the  history  of  Turnus  and  iEneas, 
in  order  to  warm  his  imagination  with  poetic  rapture, 


SCULPTORS,  AND  ARCHITECTS. 


81 


he  repeated  with  great  energy,  the  lines  of  Virgil, 
beginning, 

“ Ille  etiam  patriis  agmen  ciet,”  &c. 

The  Duke,  overhearing  his  recitations,  entered  the 
apartment,  and  was  surprised  to  find  the  young 
painter’s  mind  richly  stored  with  classical  literature. 
Eubens  remained  in  the  service  of  the  Duke  of 
Mantua,  who  had  conceived  the  strongest  attach- 
ment to  him,  nearty  eight  years,  visiting  Venice, 
Eome,  Genoa,  and  other  cities,  executing  many 
commissions,  and  leaving  everywhere  superb  speci- 
mens of  his  magic  pencil.  In  1605,  the  Duke  hav- 
ing occasion  to  send  an  envoy  to  the  court  of  Spain, 
employed  Eubens  as  a person  eminently  fitted  for 
the  delicate  mission.  He  successfully  accomplished 
the  negotiations  confided  to  him,  painted  the  por- 
trait of  Philip  III.,  and  received  from  that  monarch 
the  most  flattering  marks  of  distinction. 

RUBENS’  RETURN  TO  ANTWERP. 

In  1608,  after  an  absence  of  eight  years,  Eubens 
was  suddenly  recalled  to  Antwerp  by  the  severe  ill- 
ness of  his  mother,  who  died  before  his  arrival.  The 
loss  of  his  dearly  beloved  parent  was  a severe  afflic- 
tion to  him.  He  had  proposed  to  return  to  Italy, 
but  the  Archduke  Albert,  and  the  Infanta  Isabella, 
induced  him  to  settle  at  Antwerp,  where  he  married, 
built  a magnificent  house,  with  a saloon  in  the  form 
of  a rotunda,  which  he  embellished  with  a rich  col- 
lection of  antique  statues,  busts,  vases,  and  pictures 


82  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

by  the  greatest  masters.  This  collection  he  sold 
many  years  afterwards  to  the  Duke  of  Buckingham 
for  £10,000.  Amidst  these  select  productions  of 
art,  he  passed  about  twelve  years  in  the  tranquil 
exercise  of  his  great  abilities,  producing  an  astonish- 
ing number  of  admirable  pictures  for  the  churches 
and  public  edifices  of  tl  3 Low  Countries. 

RUBENS’  HABITS. 

In  order  to  continue  his  mental  improvement,  to 
enjoy  the  sweets  of  friendly  intercourse,  and  to 
economize  his  precious  time,  Rubens  regulated  his 
affairs  wfith  a precision  which  nothing  was  permitted 
to  derange.  He  received  company  at  stated  times, 
took  regular  exercise  out  of  doors,  usually  on  horse- 
back, and  it  is  said  that  he  never  painted  without 
having  some  one  to  read  to  him  from  a classic  work 
of  history  or  poetry.  He  possessed  an  extraordi- 
nary memory,  and  understood  the  ancient  and  seve- 
ral modern  languages,  writing  and  speaking  them 
with  ease  and  fluency.  His  familiar  acquaintance 
with  ancient  and  modern  literature,  had  enriched 
his  mind  with  inexhaustible  resources. 

RUBENS’  DETRACTORS. 

Rubens’  great  popularity  naturally  excited  envy, 
and  created  enemies.  Generous  and  affable  to  all, 
and  a liberal  encourager  of  art,  he  found  himself  as- 
sailed by  those  who  were  most  indebted  to  him  for 
assistance.  With  the  most  audacious  effrontery, 


SCULPTORS,  AND  ARCHITECTS. 


83 


they  insinuated  that  he  owed  the  best  part  of  his 
reputation  ii^  the  great  variety  of  his  works,  for 
which  he  was  celebrated,  to  the  talents  of  two  of  his 
disciples,  Snyders  and  Wildens,  whom  he  employed 
occasionally  in  forwarding  the  animals  and  land- 
scapes in  his  pictures.  The  principal  of  these  vilifi- 
ers  were  Abraham  Janssens,  Cornelius  Schut,  and 
Theodore  Bombouts  ; the  first  had  the  hardihood  to 
challenge  him  to  paint  a picture  in  competition  with 
him.  Eubens  treated  these  attacks  with  a dignity 
and  philanthropy  that  shows  his  exalted  mind,  and 
the  goodness  of  his  heart ; he  relieved  the  necessi- 
ties of  his  accusers,  and  exposed  his  immortal  pro- 
duction of  the  Descent  from  the  Cross. 

THE  GALLERY  OF  THE  LUXEMBOURG. 

In  1620,  Mary  of  Medicis  commissioned  Eubens 
to  decorate  the  gallery  of  the  Luxembourg  with  a 
series  of  emblematical  paintings,  in  twenty-four 
compartments,  illustrative  of  the  principal  events  of 
her  life.  The  series  was  painted  at  Antwerp,  except 
two  pictures,  which  he  finished  at  Paris  in  1623, 
when  he  arranged  the  whole  in  the  gallery.  These 
great  works,  executed  in  less  than  three  years,  are 
alone  sufficient  to  attest  the  abundant  fertility  of  his 
genius,  and  the  wonderful  facility  of  his  hand. 

RUBENS  SENT  AS  AMBASSADOR  TO  THE  COURTS 
OF  SPAIN  AND  ENGLAND. 

In  1628,  the  Infanta  Isabella  despatched  Eubens 
on  a delicate  political  mission  to  the  court  of  Spain, 


84  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

relative  to  the  critical  state  of  the  government  of 
the  Low  Countries,  and  for  instructions  preparatory 
to  a negotiation  of  peace  between  Spain  and  Eng- 
land. On  his  arrival  at  the  Spanish  capital,  he  was 
received  in  the  most  gracious  manner  by  Philip  IV., 
acquitted  himself  of  his  diplomatic  mission  to  the 
entire  satisfaction  of  the  Infanta  and  the  King,  and 
completely  captivated  that  monarch,  and  his  minis- 
ter, the  Duke  de  Olivares,  by  the  magnificent  pro- 
ductions of  his  pencil.  He  executed  several  great 
works,  for  which  he  was  munificently  rewarded,  re- 
ceived the  honors  of  knighthood,  and  was  presented 
with  the  golden  key,  as  a Gentleman  of  the  Eoyal 
Bed-Chamber. 

In  1629  he  returned  to  Elanders,  and  was  imme- 
diately despatched  to  England  by  the  Infanta,  on  a 
secret  mission,  to  ascertain  the  disposition  of  the 
government  on  the  subject  of  peace.  The  king, 
Charles  I.,  an  ardent  lover  of  the  fine  arts,  received 
the  illustrious  painter  with  every  mark  of  distinc- 
tion, and  immediately  employed  him  in  painting  the 
ceiling  of  the  Banqueting  House  at  Whitehall,  where 
he  represented  the  Apotheosis  of  his  father,  J ames 
I.,  for  which  he  received  £3,000.  Here  Rubens 
showed  himself  no  less  skillful  as  a diplomatist  than 
as  a painter.  In  one  of  the  frequent  visits  with 
which  the  king  honored  him  during  the  execution  of 
the  work,  he  alluded  with  infinite  delicacy  and  ad- 
dress to  the  subject  of  a peace  with  Spain,  and  find- 
ing the  monarch  not  averse  to  such  a measure,  he 


SCULPTORS,  AND  ARCHITECTS. 


85 


immediately  produced  his  credentials.  Charles  at 
once  appointed  some  members  of  his  council  to  ne* 
gociate  with  him,  and  a pacification  was  soon  effect- 
ed. The  King  was  so  highly  pleased  with  the  pro- 
ductions of  his  pencil,  and  particularly  with  his  con- 
duct in  this  diplomatic  emergency,  that  he  gave  him 
a munificent  reward,  and  conferred  upon  him  the 
honor  of  knighthood,  Feb.  21,  1630.  On  this  occa- 
sion, the  king  presented  Kubens  with  his  own  sword, 
enriched  with  diamonds,  his  hat-band  of  jewels,  val- 
ued at  ten  thousand  crowns,  and  a gold  chain,  which 
Bubens  wore  ever  afterwards. 

DEATH  OF  RUBENS. 

Bubens,  after  having  successfully  accomplished 
the  objects  of  his  missions  to  the  courts  of  Spain 
and  England,  returned  to  Antwerp,  where  he  was 
received  with  all  the  honors  and  distinction  due  to 
his  services  and  exalted  merit.  He  still  continued 
to  exercise  his  pencil  with  undiminished  industry 
and  reputation  till  1635,  when  he  experienced  some 
aggravated  attacks  of  the  gout,  to  which  he  had 
been  subject,  succeeded  by  an  infirmity  and  trem- 
bling of  the  hand,  which  obliged  him  to  decline  exe- 
cuting all  works  of  large  dimensions.  Though  he 
had  now  reached  his  fifty-eighth  year,  and  was  load- 
ed with  deserved  honors  and  wealth,  he  nevertheless 
continued  to  instruct  his  pupils,  to  correspond  with 
his  cherished  friends,  and  to  paint  easel  pictures 
when  his  torturing  malady  would  permit,  till  his 


86 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


death,  in  1640,  aged  63  years.  He  was  buried  with 
extraordinary  pomp  and  solemnity  in  the  church 
of  St.  James,  under  the  altar  of  the  private  chapel, 
which  he  had  decorated  with  one  of  his  finest  pic- 
tures. A superb  monument  was  erected  to  his 
memory. 


RUBENS’  NUMEROUS  WORKS. 

The  number  of  works  executed  by  Eubens  is 
truly  astonishing ; Smith,  in  his  Catalogue  raisonnd, 
vols.  ii.  and  ix.,  describes  about  eighteen  hundred 
considered  genuine  by  him,  in  the  different  public 
and  private  collections  of  Europe.  There  can  be  no 
doubt  that  a great  number  of  these  were  executed 
by  his  numerous  scholars  and  assistants,  under  his 
direction,  from  his  designs,  and  then  finished  by 
himself.  It  is  well  known  that  he  employed  his  pu- 
pils in  forwarding  many  of  his  pictures,  and  that 
Wildens,  van  TJden,  and  Mompers,  in  particular, 
assisted  him  in  his  landscapes,  and  Snyders  in  his 
animals.  His  principal  scholars  were  Anthony  Van- 
dyck,  Justus  van  Egmont,  Theodore  van  Thulden, 
Abraham  Diepenbeck,  Jacob  Jordaens,  Peter  van 
Mol,  Cornelius  Schut,  John  van  Hoeck,  Simon  de 
Vos,  Peter  Soutman,  Deodato  Delmont,  Erasmus 
Quellinus,  Francis  Wouters,  Francis  Snyders,  John 
Wildens,  Lucas  van  TJden,  and  Jodocus  Mompers. 
Several  other  distinguished  Flemish  painters  of  the 
period,  who  were  not  his  pupils,  imitated  his  style ; 
the  most  eminent  of  whom  were  Gerard  Seghers, 


SCULPTORS,  AND  ARCHITECTS.  87 

Gaspar  de  Grayer,  and  Martin  Pepin.  Besides  the 
genuine  paintings  of  Rubens,  there  are  a multitude 
of  doubtful  authenticity,  attributed  to  him,  most 
of  which  were  executed  by  his  pupils  and  imitators. 
Many  such,  fine  pictures,  are  in  the. United  States. 
There  are  upwards  of  twelve  hundred  engravings 
after  works  attributed  to  Rubens  ; some  of  which, 
however,  are  of  doubtful  authenticity.  Those  exe- 
cuted by  the  Bolswerts,  Paul  Pontius,  and  other  co- 
temporary engravers  who  worked  under  Rubens’ 
supervision,  are  undoubtedly  genuine.  There  are  a 
great  number  of  his  works  in  England  in  the  public 
galleries  and  the  collections  of  the  nobility ; there 
are  nine  in  the  National  gallery,  fourteen  in  the 
Dulwich  gallery,  and  others  at  Windsor,  Hampton 
Court,  and  Whitehall.  The  enormous  value  set 
upon  his  works  at  the  present  time,  may  be  seen  by 
referring  to  the  catalogue  of  the  National  gallery; 
thus,  the  Brazen  Serpent  cost  £1260;  a Landscape, 
called  Rubens’  Chateau,  £1500  ; Peace  and  War, 
£3000 ; the  Rape  of  the  Sabines,  £3000 ; and  the 
Judgment  of  Paris,  4000  guineas.  Many  of  the 
works  of  Rubens,  like  those  of  other  great  masters, 
have  suffered  greatly  from  the  effects  of  time,  but 
more  from  improper  cleaning  and  unskillful  restora- 
tion, especially  in  retouching  injured  parts,  by  which 
the  original  harmony  of  coloring  has  been  destroyed. 
Thus  his  pictures  in  the  Banqueting  house  at  White- 
hall, have  been  three  times  cleaned,  repaired,  and 
painted  over,  so  that  little  of  the  original  splendor 
of  coloring  remains. 


88  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

THE  FIRST  PICTURE  BROUGHT  TO  ROME. 

The  first  picture  carried  to  Rome  from  Greece, 
according  to  Pliny,  was  the  famous  Bacchus  and 
Ariadne,  painted  by  Aristides  of  Thebes.  It  was 
painted  on  a heavy  panel,  and  King  Attalus  offered 
for  it,  its  weight  in  gold,  which  excited  the  suspi- 
cion of  the  Consul  Mummius  that  it  contained  some 
secret  charm.  He  accordingly  broke  off  the  bar- 
gain, and  took  it  himself  to  Rome,  where  he  dedica 
ted  it  in  the  temple  of  Ceres.  After  this  example, 
every  Roman  commander  seems  to  have  been  ambi- 
tious of  adorning  the  city  with  the  finest  pictures 
and  statues  of  Greece,  Asia  Minor,  Egypt,  and 
Sicily.  Julius  Caesar  enshrined  the  two  exquisite 
pictures  of  Medea  and  Ajax,  by  Timomachus,  in 
the  Temple  of  Venus.  Augustus  hung  his  forum 
with  pictures  of  the  horrors  of  war,  and  the  glories 
of  a triumph ; and  he  adorned  the  temple  which  he 
dedicated  to  the  deified  Julius  with  many  choice 
pictures,  the  most  beautiful  of  which  was  the  Venus 
Anadyomene  of  Apelles.  Another,  scarcely  less 
celebrated,  by  the  same  painter,  was  one  of  Alex- 
ander in  triumph,  leading  War,  bound  and  mana- 
cled. This  picture  was  afterwards  defaced  by  Clau- 
dius, who  caused  the  head  of  Alexander  to  be 
scraped  out,  and  that  of  Augustus  to  be  inserted. 
Another  picture  of  especial  note,  in  the  same  tem- 
ple, was  one  of  Castor  and,  Pollux. 

Augustus  also  placed  in  the  Comitium  some  excel- 
lent works,  by  Nicias  of  Athens,  and  others.  The 


SCULPTORS,  AND  ARCHITECTS. 


89 


Temple  of  Peace  was  rich  in  pictures  of  the  high- 
est class.  There  was  placed  the  most  valued  of  all 
the  works  of  Protogenes,  the  hunter  Jalysus  with 
his  dogs  and  game,  the  Cyclops  of  Timanthes,  and 
the  sea-monster  Scylla,  by  Nicomachus. 

In  the  Temple  of  Concord,  there  was  a precious 
picture  by  Zeuxis — that  of  Marsyas  bound  to  a 
Tree  ; and  the  Muses  and  the  Helen  of  the  same 
painter  adorned  some  of  the  private  villas  at  Pome. 

In  the  Temple  of  Minerva,  on  the  Capitol,  was 
the  Theseus  of  Parrhasius,  with  the  Pape  of  Pro- 
serpine, and  a Victory  by  Nicomachus. 

In  the  shrine  of  Ceres,  where  Mummius  had 
placed  the  Bacchus  and  Ariadne  of  Aristides,  were 
several  other  works  by  the  same  painter. 

The  Portico  of  Octavia  was  adorned  with  pic- 
tures of  Greek  mythology  and  history  by  Antiphi- 
lus;  and  that  of  Pompey  boasted  a rare  fragment 
by  Polygnotus,  of  a Soldier  upon  a Scaling  Ladder, 
probably  a part  of  some  great  battle-piece,  which 
that  illustrious  painter  had  executed  in  honor  of  his 
countrymen.  Some  suppose  it  to  have  been  taken 
from  the  Pcecile  at  Athens,  where  the  pictures  were 
not  painted  in  fresco,  but  on  panels.  The  Portico 
of  Pompey  was  still  further  adorned  with  pictures 
by  Nicias,  among  which  were  a large  portrait  of 
Alexander,  a picture  of  Calypso,  and  some  animals, 
which  were  much  prized.  There  was  also  a beauti- 
ful picture  of  Hyacinthus,  by  the  same  artist,  which 
was  so  highly  valued  by  Augustus,  that,  after  his 


90 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


death,  Tiberius  consecrated  it  to  his  memory,  ii  the 
temple  dedicated  to  him. 

The  Romans  did  not  hesitate  to  carry  off  every- 
thing appertaining  to  the  fine  arts  in  the  countries 
they  conquered.  The  greatest  influx  of  Greek  pic- 
tures into  Rome,  at  any  one  time,  was  during  the 
edileship  of  Scaurus,  when,  on  account  of  a real  or 
protended  debt  owing  by  the  people  of  Sicyon  to 
Rome,  all  the  valuable  pictures  in  that  city  were 
seized  and  conveyed  to  Italy.  Such  were  a few  of 
the  many  pictures,  the  spoils  of  war,  which  were 
carried  to  Rome,  to  adorn  the  temples,  palaces,  and 
public  places,  not  to  speak  of  those  which  decorated 
the  villas  of  persons  of  rank  and  taste. 

ETRUSCAN  SCULPTURE. 

The  Romans  were  so  fond  of  Etruscan  statues 
that  they  collected  them  from  all  quarters.  At  the 
taking  of  Volsinum  (now  Bolsena),  they  removed 
two  thousand  bronze  statues  to  Rome.  The  Etrus- 
cans were  also  much  employed  by  the  Romans  to 
make  bronze  statues  of  their  divinities  and  great 
personages.  One  of  the  most  ancient  remaining 
works  executed  by  them  for  Rome,  is  the  bronze 
Wolf,  “ the  thunder-stricken  nurse  of  Rome,”  pre- 
served in  the  Capitol,  and  of  which  Micali  has  given 
an  excellent  figure.  There  was  a colossal  Etruscan 
Apollo,  fifty  feet  high,  placed  in  the  library  of  the 
Temple  of  Augustus,  “ the  bigness  of  which,”  says 
Pliny,  “ is  not  so  remarkable  as  the  material  and  the 


SCULPTORS,  AND  ARCHITECTS. 


91 


workmanship ; for  hard  it  is  to  say  whether  is  most 
admirable,  the  beautiful  figure  of  the  body,  or  the 
exquisite  temperature  of  the  metal.”  There  was 
also  a colossal  Jupiter  of  the  Capitol,  cast  by  Coro- 
villius  out  of  the  brazen  armor  taken  from  the  dead 
bodies  of  the  conquered  Samnites.  Pliny  says  the 
first  bronze  statue  cast  in  Rome,  was  that  of  the 
goddess  Ceres,  the  expense  of  which  was  defrayed 
by  the  forfeited  goods  of  Spurius  Capius,  who  was 
put  to  death  for  aspiring  to  the  dignity  of  king. 

CAMPUS  MARTIUS. 

The  Campus  Martius  was  a large  plain  without 
the  city  of  Rome,  which  was  adorned  with  a multi- 
tude of  statues,  the  spoils  of  war ; also  with  col- 
umns, arches,  and  porticos.  The  public  assemblies 
were  held  there,  the  officers  of  state  chosen,  and  au- 
dience given  to  foreign  ambassadors ; there,  also, 
the  Roman  youths  performed  their  exercises,  learned 
to  wrestle  and  box,  to  throw  the  discus,  hurl  the 
javelin,  ride  a horse,  drive  a chariot,  etc. 

ELECTIONEERING  PICTURES  AT  ROME. 

The  Roman  commanders  made  a singular  use  of 
painting  to  advance  their  interests.  Their  inor- 
dinate love  of  military  fame  discovered  a mode  of 
feeding  that  ruling  passion  by  means  of  this  charm- 
ing art.  According  to  Valerius  Maximus,  Massala 
was  the  first  who,  when  he  offered  himself  for  the 
consulship,  instead  of  sitting  in  the  market-place, 


92  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

dressed  in  the  white  robe  of  humility,  and  pointing 
to  his  wounds  like  Coriolanus, 

“ Show  them  the  scars  that  I would  hide, 

As  if  I had  received  them  for  the  hire 
Of  their  breath  only,” 

caused  a picture  to  be  hung  up  in  the  portico  Hos- 
tilia,  representing  the  battle  of  Messana,  where  he 
had  vanquished  both  the  Carthagenians  and  Syra- 
cusans. The  picture  told  the  story  of  his  achieve- 
ments to  the  best  advantage,  and  secured  his  elec- 
tion. Scipio  Africanus  was  greatly  incensed  against 
his  brother,  Lucius  Scipio,  for  placing  in  the  Capi- 
tol a picture  of  the  battle  near  Sardis,  which  won 
him  the  title  of  Asiaticus,  but  in  which,  his  nephew, 
the  son  of  Africanus,  was  taken  prisoner.  Again, 
Scipio  Emilianus  wTas  highly  offended  at  the  display 
of  a picture  of  the  Taking  of  Carthage,  exhibited  in 
the  market-place  by  Lucius  Hostilius  Mancinus. 
It  appears  that  Mancinus  was  the  first  to  enter  the 
city,  and  on  his  return  to  Rome,  being  desirous  of 
the  consulship,  he  had  a picture  painted,  repre- 
senting the  situation  of  the  town,  its  strong  fortifi- 
cations, all  the  machines  used  in  the  attack  and 
defense,  and  the  actions  of  the  besiegers,  in  which 
care  was  taken  that  those  of  Mancinus  should  be 
most  conspicuous.  This  he  hung  up  in  the  Forum, 
and  personally  explained  to  the  people  in  such  a 
manner,  that  he  won  their  good  will,  and  gained  the 
consulship.  We  learn  from  Quintilian  that  the 


SCULPTORS,  AND  ARCHITECTS. 


93 


lawyers  of  Rome  often  made  use  of  pictures  in  their 
pleadings  for  the  purpose  of  moving  the  judges. 

DRAMATIC  SCENERY  AT  ROME. 

It  is  related  tnat  when  Claudius  Pulcher,  during 
his  edileship,  exhibited  dramas  publicly  at  Rome, 
the  scenery,  representing  trees,  houses  and  other 
buildings  was  so  naturally  depicted,  that  the  ravens 
and  other  birds  came  to  perch  upon  them.  Many  such 
anecdotes  are  related  as  having  occurred  in  all  ages 
of  the  history  of  the  art,  but  they  are  not  so  sure  a 
test  of  excellence  as  people  generally  imagine,  for 
animals  are  easily  deceived.  The  writer  has  made 
experiments  to  satisfy  himself  on  this  point ; he  has 
seen  a whiffet  dog  bark  obstreperously  at  the  por- 
trait of  a person  it  disliked ; birds  approach  a pic- 
ture of  fruit,  a*nd  bees  one  of  flowers.  He  has  a 
picture  of  three  dogs,  so  naturally  painted,  that  al- 
most every  dog,  admitted  into  the  room,  not  only 
looks  at  it,  but  endeavors  to  smell  of  it.  Every 
sportsman  knows  that  it  is  easy  to  decoy  wild  ducks 
with  an  artificial  one. 

APELLES  OF  EPHESUS  AND  PTOLEMY  PHILOPATOR. 

During  a voyage  in  the  eastern  part  of  the  Medi- 
terranean, Apelles  was  driven  into  Alexandria,  in 
Egypt,  by  stress  of  weather.  Not  being  in  favor 
with  king  Ptolemy,  he  did  not  venture  to  appear  at 
the  court ; but  some  of  his  enemies  suborned  one  of 
the  royal  buffoons  to  invite  him  to  supper  in  the 


94  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

king’s  name.  Apelles  attended  accordingly,  but 
Ptolemy,  indignant  at  the  intrusion,  demanded  by 
whom  he  had  been  invited  ; whereupon  the  painter, 
seizing  an  extinguished  coal  from  the  hearth,  drew 
upon  the  wall  the  features  of  the  man  who  had  in- 
vited him,  with  such  accurac}T  that  the  king,  even 
from  the  first  lines,  immediately  recognized  the  buf- 
foon, and  thenceforth  received  Apelles  into  his  fa- 
vor. 

APELLES’  FAMOUS  PICTURE  OF  CALUMNY. 

According  to  Lucian,  the  reputation  of  Apelles, 
and  the  favor  he  enjoyed  at  the  court  of  Ptolemy, 
excited  the  jealousy  of  Antiphilus,  a celebrated 
Egyptian  painter,  who  unjustly  accused  him  of 
having  participated  in  the  conspiracy  of  Theodotus 
of  Tyre.  Apelles  was  thrown  into  the  dungeon,  and 
treated  with  great  severity,  but  his  innocence  being 
clearly  established,  Ptolemy  endeavored  to  make 
reparation,  presented  him  with  one  hundred  talents, 
and  condemned  Antiphilus  to  be  his  slave.  Apel- 
les, however,  was  not  satisfied  with  this  reparation, 
and  on  returning  to  Ephesus,  painted  in  retaliation 
his  famous  picture  of  Calumny,  in  which  Ptolemy 
acted  a principal  part.  Lucian  saw  this  picture, 
and  thus  describes  it  : 

“ On  the  right,  is  seated  a person  of  magisterial 
authority,  to  whom  the  painter  has  given  ears  like 
Midas,  who  holds  forth  his  hand  to  Calumny,  as  if 
inviting  her  to  approach.  He  is  attended  by  Ig- 


EC  'LPTORS,  AND  ARCHITECTS,  95 

aorance  and  Suspicion,  who  stand  by  his  side.  Ca- 
lumny advances  in  the  form  of  a beautiful  female, 
her  countenance  and  demeanor  exhibiting  an  air  of 
fury  and  hatred ; in  one  hand  she  holds  the  torch  of 
discord,  and  with  the  other,  she  drags  by  the  hair  a 
youth  personifying  Innocence,  who,  with  eyes  raised 
to  heaven,  seems  to  implore  succor  of  the  gods.  She 
is  preceded  by  Envy,  a figure  with  a pallid  visage 
and  emaciated  form,  who  appears  to  be  the  leader 
of  the  band.  Calumny  is  also  attended  by  two  other 
figures  who  seem  to  excite  and  animate  her,  and 
whose  deceitful  looks  discover  them  to  be  Intrigue 
and  Treachery.  At  last  follows  Repentance  clothed 
in  black,  and  covered  with  confusion  at  the  discovery 
of  Truth  in  the  distance,  environed  with  celestial 
light.” 

This  sketch  has  been  regarded  as  one  of  the  most 
ingenious  examples  of  allegorical  painting  which 
the  history  of  the  art  affords.  Baffaelle  made  a 
drawing  from  Lucian’s  description,  which  was  for- 
merly in  the  collection  of  the  Duke  of  Modena,  and 
was  afterwards  transferred  to  the  French  Museum. 

Professor  Tolken,  of  Berlin,  has  shown  that  this 
Apelles  was  not  the  great  cotemporary  of  Alexan- 
der, for  the  persons  mentioned  in  connection  with 
the  storyr  lived  more  than  a hundred  years  after  the 
death  of  Alexander — or  about  the  144th  Olympiad. 
This  reconciles  many  contradictory  statements  with 
regard  to  Apelles,  both  by  ancient  and  modern 


96  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

writers.  See  Spooner’s  Dictionary  of  Painters,  En- 
gravers, Sculptors,  and  Architects. 

SIR  GODFREY  KNELLER. 

Soon  after  Kneller’s  arrival  in  England,  he  paint- 
ed the  portrait  of  the  Duke  of  Monmouth,  who  was 
so  much  pleased  with  it  that  he  persuaded  the  king, 
his  father  (Charles  II.)  to  have  his  portrait  painted 
by  the  new  artist.  The  King  had  promised  the 
Duke  of  York  his  portrait,  to  be  painted  by  Sir  Pe- 
ter Lely,  and  unwilling  to  go  through  the  cere- 
mony of  a double  sitting,  he  proposed  that  both  art- 
ists should  paint  him  at  the  same  time.  Lely, 
the  king’s  painter,  took  the  light  and  station  ht* 
liked ; but  Kneller  took  the  next  best  he  could  find 
and  went  to  work  with  so  much  expedition,  that  h 
had  nearly  finished  his  portrait,  when  Lely  had'only 
laid  in  his  dead  coloring.  This  novelty  pleased, 
and  Lely  himself  had  the  candor  to  acknowledge 
his  merit.  Kneller  immediately  found  himself  in 
the  possession  of  great  reputation  and  abundant  em- 
ployment, and  the  immense  number  of  portraits  he 
executed,  proves  the  stability  of  his  reputation.  He 
was  equally  patronized  by  Kings  Charles,  James,  and 
William,  and  he  had  the  honor  of  painting  ten  sove- 
reigns. His  best  friend  was  King  William,  for 
whom  he  painted  the  beauties  of  Hampton  Court, 
and  by  whom  he  was  knighted  in  1692,  and  present- 
ed with  a gold  chain  and  medal,  worth  £300.  In 
the  latter  part  of  this  reign,  he  painted  the  portraits 


* 


SCULPTORS,  AND  ARCHITECTS.  97 

of  the  members  of  the  famous  Kit-cat  Club,  forty- 
two  in  number,  and  the  several  portraits  now  in  the 
gallery  of  the  Admirals.  He  lived  to  paint  the  por- 
trait of  George  I.,  who  made  him  a Baronet.  He 
died  in  1723.  His  body  lay  in  state,  and  he  was 
buried  at  his  country-seat  at  Wilton  ; a monument 
was  erected  to  his  memory  in  Westminster  Abbey 

KNELLER  AND  JAMES  II. 

It  was  while  sitting  to  this  artist,  that  James  the 
Second  manifested  a most  surprising  instance  of 
coolness  and  shrewdness  united.  Kneller  was  paint- 
ing his  portrait  as  a present  to  Pepys,  when  sud- 
denly intelligence  arrived  of  the  landing  of  the  ( 
Prince  of  Orange.  The  artist  was  confounded,  and 
laid  down  his  brush.  “ Go  on,  Kneller,”  said  the 
king,  betraying  no  outward  emotion;  “I  wish  not  to 
disappoint  my  friend  Pepys.” 

KNELLER’S  COMPLIMENT  TO  LOUIS  XIV. 

When  Kneller  painted  the  portrait  of  Louis  XI Y., 
the  monarch  asked  him  what  mark  of  his  esteem 
would  be  most  agreeable  to  him ; whereupon  he 
modestly  answered  that  he  should  feel  honored  if  his 
Majesty  would  bestow  a quarter  of  an  hour  upon  him, 
that  he  might  execute  a drawing  of  his  face  for  him- 
self. The  request  was  granted. 

Kneller  painted  Dry  den  in  his  own  hair,  in  plain 
drapery,  holding  a laurel,  and  made  him  a present  of 
the  work ; to  which  the  poet  responded  in  an  epistle 


\iS  ANECDOTES  OF  PAINTERS,  ENGRAVERS 

ctv  taming  encomiums  such  as  few  painters  de 
serve. 

; Such  are  thy  pictures,  Kneller ! such  thy  skill, 

That  nature  seems  obedient  to  thy  will, 

Comes  out  and  meets  thy  pencil  in  the  draught, 

Lives  there,  and  wants  but  words  to  speak  the  thought.” 

KNELLER’S  WIT. 

The  servants  of  his  neighbor,  Dr.  Radcliffe 
abused  the  liberty  of  a private  entrance  to  the 
painter’s  garden,  and  plucked  his  flowers.  Kneller 
sent  him  word  that  he  must  shut  the  door  up, 
whereupon  the  doctor  peevishly  replied,  “ Tell  him 
he  may  do  any  thing  with  it  but  paint  it.”  “ Never 
mind  what  he  says,”  retorted  Sir  Godfrey;  “I  can 
take  anything  from  him  but  physic.”  He  once 
overheard  a low  fellow  cursing  himself.  K God 
damn  you , indeed  !”  exclaimed  the  artist  in  wonder  ; 
“ God  may  damn  the  Duke  of  Marlborough,  and 
perhaps  Sir  Godfrey  Kneller  ; but  do  you  think  he 
will  ever  take  the  trouble  of  damning  such  a scoun- 
drel as  you  ?”  To  his  tailor,  who  proposed  his  son 
for  a pupil,  he  said,  “ Dost  thou  think,  man,  I can 
make  thy  son  a painter  ? No,  God  Almighty  only 
makes  painters.”  He  gave  a reason  for  preferring 
portraiture  to  historical  painting,  which  forms  an 
admirable  hon-mot , for  its  shrewdness,  truthfulness, 
and  ingenuity.  “ Painters  of  history,”  said  he, 
“ make  the  dead  live,  and  do  not  begin  to  live  til1 


SCULPTORS,  AND  ARCHITECTS, 

they  are  dead.  I paint  the  living,  and  they  make 
me  live !” 

KNELLER’S  KNOWLEDGE  OF  PHYSIOGNOMY. 

In  a conversation  concerning  the  legitimacy  of  the 
unfortunate  son  of  James  II.,  some  doubts  having 
been  expressed  by  an  Oxford  Doctor,  Kneller  ex- 
claimed, with  much  warmth,  “ His  father  and  mo- 
ther have  sat  to  me  about  thirty-six  times  apiece, 
and  I know  every  line  and  bit  of  their  faces.  Mein 
Gott ! I could  paint  King  James  now  by  memory. 
I say  the  child  is  so  like  both,  that  there  is  not  a fea- 
ture of  his  face  but  what  belongs  either  to  father  or 
mother ; this  I am  sure  of,  and  cannot  be  mistaken  ; 
nay,  the  nails  of  his  fingers  are  his  mother’s,  the 
queen  that  was.  Doctor,  you  may  be  out  in  your 
letters,  but  I cannot  be  out  in  my  lines.” 

KNELLER  AS  A JUSTICE  OF  THE  PEACE. 

Sir  Godfrey  acted  as  a justice  of  the  peace  at 
Wilton,  and  his  sense  of  justice  induced  him  always 
to  decide  rather  by  equity  than  law.  His  judg- 
ments, too,  were  often  accompanied  with  so  much 
humor,  as  caused  the  greatest  merriment  among  his 
acquaintance.  Thus,  he  dismissed  a poor  soldier 
who  had  stolen  a piece  of  meat,  and  fined  the  butch- 
er for  purposely  tempting  him  to  commit  the  crime. 
Hence  Pope  wrote  the  following  lines  : 

“ I thinK  Sir  Godfrey  should  decide  the  suit, 

Who  sent  the  thief  (that  stole  the  cash)  away, 

And  punished  him  that  put  it  in  his  way.” 


100  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

Whenever  he  was  applied  to  by  paupers,  he  al- 
ways inquired  which  were  the  richest  parishes,  and 
settled  them  there.  He  could  never  be  induced  to 
sign  a warrant  to  distrain  the  goods  of  a poor  man, 
who  could  not  pay  a tax,  and  he  took  pleasure  in  as- 
sisting the  honest  poor  with  his  advice  and  purse. 
He  disliked  interruption,  and  if  the  case  appeared 
trivial,  or  was  the  result  of  a row,  he  would  not  be 
disturbed.  Seeing  a constable  coming  to  him  one 
day,  with  two  men,  having  bloody  noses,  and  a mob 
at  his  heels,  he  called  out  to  him,  “ Mr.  Constable, 
do  you  see  that  turning  ? Go  that  way,  and  you 
will  find  an  ale-house — the  sign  of  the  King’s  Head 
Go  and  make  it  up.”  A handsome  young  woman 
came  before  him  one  day  to  swear  a rape  ; struck 
with  her  beauty,  he  continued  examining  her  as  he 
sat  painting,  till  he  had  taken  her  likeness.  Per- 
ceiving from  her  manner  that  she  was  not  free  from 
guilt,  he  advised  her  not  to  prosecute  her  suit,  but 
seek  some  other  mode  of  redress.  These  instances 
show  the  goodness  of  his  heart,,  and  refute  the 
many  absurd  and  malicious  stories,  that  are  told  of 
him. 


KNELLER  AND  CLOSTERMANS. 

When  Clostermans,  an  inferior  artist,  sent  a chal- 
lenge to  Kneller  to  paint  a picture  in  competition 
with  him  for  a wager,  he  courteously  declined  the 
contest,  and  sent  him  word  that  “ he  allowed  him  to 
oe  his  superior.” 


SCULPTORS,  AND  ARCHITECTS.  lOl 

THE  CAVALIERE  BERNINI. 

Giovanni  Lorenzo  Bernini,  whose  renown  filled 
all  Europe  in  the  seventeenth  century,  was  called  the 
Michael  Angelo  of  his  age,  because,  like  that  great 
artist,  he  united  in  an  eminent  degree,  the  three 
great  branches  of  art — painting,  sculpture,  and  ar- 
chitecture, though  he  was  chiefly  renowned  in  the 
two  last. 

BERMNI’S  PRECOCITY. 

Bernini  manifested  his  extraordinary  talents  al- 
most in  infancy.  At  the  age  of  eight  years,  he  exe- 
cuted a child’s  head  in  marble,  which  was  considered 
a wonder.  When  he  was  ten  years  old,  his  talents 
had  become  so  widely  known,  that  Pope  Paul  V. 
wished  to  see  the  prodigy  who  was  the  astonishment 
of  artists,  and  on  his  being  brought  into  his  pres- 
ence, desired  him  to  draw  a figure  of  St.  Paul, 
which  he  did  in  half  an  hour,  so  much  to  the  satis- 
faction of  the  pontiff  that  he  recommended  him  to 
Cardinal  Barberini,  saying,  “ Direct  the  studies  of 
this  child,  \vho  will  become  the  Michael  Angelo  of 
this  century.” 

BERNINI’S  STRIKING  PREDICTION. 

During  Bernini’s  distinguished  career,  Charles  I. 
of  England  endeavored  in  vain  to  allure  him  to  visit 
his  court.  Not  succeeding  in  this,  he  employed 
Y andyck  to  paint  two  excellent  porti  aits  of  himself, 
one  in  profile  and  the  other  in  full  face,  and  sent 


J 02 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


them  to  Bernini,  to  enable  him  to  execute  his 
bust.  The  sculptor  surveyed  them  with  an  anx- 
ious eye,  and  exclaimed,  u Something  evil  will 
befall  this  man ; he  carries  misfortune  in  his  face.” 
The  tragical  termination  of  the  monarch’s  career, 
verified  the  sculptor’s  knowledge  of  physiognomy. 
Bernini  made  a striking  likeness,  with  which  the 
king  was  so  much  pleased,  that,  in  addition  to  the 
stipulated  price,  six  thousand  crowns,  he  made  him 
a present  of  a diamond  ring,  worth  six  thousand 
more. 

BERNINI  AND  LOUIS  XIY. 

Bernini  received  the  most  flattering  and  pressing 
invitations  from  Louis  XIV.  to  visit  Paris.  At 
length,  he  was  persuaded  by  the  great  Colbert  to 
undertake  the  journey,  and  having  with  great  diffi- 
culty obtained  permission  of  the  Pope,  he  set  out 
for  France,  at  the  age  of  sixty-eight,  accompanied 
by  one  of  his  sons,  and  a numerous  retinue.  Never 
did  an  artist  travel  with  so  much  pomp,  and  under 
so  many  flattering  circumstances.  By  order  of  the 
King,  he  was  received  everywhere  on  his  way  with 
the  honors  due  to  a prince,  and  on  his  arrival  at 
Paris,  he  was  received  by  the  king  with  every  mark 
of  distinction,  and  apartments  assigned  to  him  in 
the  royal  palace.  Louis  defrayed  all  the  expenses 
of  his  journey,  and  to  immortalize  the  event,  had  a 
medal  struck,  with  the  portrait  of  the  artist,  and  on 
the  reverse,  the  Muses  of  the  Arts,  with  this  in 


SCULPTORS,  AND  ARCHITECTS.  103 

scription,  “ Singularis  in  singularis  ; in  omnibus , 
unions.”  When  he  returned  to  Rome,  Louis  pre- 
sented him  with  ten  thousand  crowns,  gave  him  a 
pension  of  two  thousand,  and  one  of  four  hundred 
to  his  son,  and  commissioned  him  to  execute  an 
equestrian  statue  of  himself,  in  marble,  of  colossal 
proportions.  The  statue  was  executed  in  four  years, 
and  sent  to  Versailles,  where  it  was  afterwards  con- 
verted into  Maious  Curtius , and  where,  as  such,  it 
still  remains. 

BERNINI’S  WORKS. 

Bernini  designed  and  wrought  with  wonderful 
facility ; his  life  was  one  of  continued  exertion,  and 
he  lived  to  the  great  age  of  eighty-two  years,  so 
that  he  was  enabled  to  execute  an  astonishing  num- 
ber of  works.  Richly  endowed  by  nature,  and  fa- 
vored by  circumstances,  he  rose  superior  to  the  rules 
of  art,  creating  for  himself  an  easy  manner,  the 
faults  of  which  he  knew  well  how  to  disguise  by  its 
brilliancy  ; yet  this  course,  as  must  ever  be  the  case, 
did  not  lead  to  a lasting  reputation.  “ The  Oav. 
Bernini,”  says  Lanzi,  “ the  great  architect  and 
skillful  sculptor,  was  the  arbiter  and  dispenser  of  all 
the  works  at  Rome,  under  the  pontificates  of  Urban 
VIII.  and  Innocent  X.  His  style  necessarily  influ- 
enced those  of  all  the  artists,  his  cotemporaries 
He  was  affected,  particularly  in  his  drapery.  He 
opened  the  way  to  caprice,  changed  the  true  princi 
pies  of  art,  and  substituted  for  them  the  false.  At 


.04  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

different  times,  the  study  of  painting  has  taker  the 
same  vicious  course  ; above  all,  among  the  imitators 
of  Pietro  da  Cortona,  some  of  whom  went  so  far  as 
to  condemn  a study  of  the  works  of  Raffaelle,  and 
even  to  decry,  as  useless,  the  imitation  of  nature.” 
Bernini  lived  in  splendor  and  magnificence,  and  left 
a fortune  of  400,000  Roman  crowns  (about  $700,000), 
to  his  children. 

BERNINI  AND  THE  VEROSPI  HERCULES. 

When  the  Yerospi  statue  of  Hercules  killing  the 
Hydra  was  first  discovered,  some  parts  of  it,  partic- 
ularly the  monster  itself,  were  wanting,  and  were 
supplied  by  Bernini.  Some  years  after,  in  further 
digging  the  same  piece  of  ground,  they  found  the 
jydra  that  originally  belonged  to  it,  which  differs 
very  much  from  Bernini’s  supplemental  one;  yet 
the  latter  is  given  in  Maffei’s  Statues,  and  other 
books  of  prints,  as  the  antique.  The  statue  was 
removed  from  the  Vero&pi  palace  to  the  Capitol, 
where  it  now  is  ; and  the  original  hydra,  with  a 
horned  sort  of  a human  face,  snakes  »for  hair,  and  a 
serpentine  body,  is  there  also,  in  the  same  court. 

FANATICISM  DESTRUCTIVE  TO  ART. 

Queen  Elizabeth  was  a bitter  persecutor  of  art ; 
she  ordered  all  sacred  pictures  in  the  churches  to 
^e  utterly  destro}md,  and  the  walls  to  be  white- 
washed, so  that  no  memorial  of  theimmight  remain. 
In  her  reign,  it  became  fashionable  to  sally  forth 


SCULPTORS,  AND  ARCHITECTS. 


105 


and  knock  pictures  and  images  to  pieces.  Flax- 
man  says,  “ The  commands  for  destroying  sacred 
paintings  and  sculpture  prevented  the  artist  from 
suffering  his  mind  to  rise  to  the  contemplation  or 
execution  of  any  sublime  effort,  as  he  dreaded  a 
prison  or  a stake,  and  reduced  him  to  the  lowest 
drudgery  in  his  profession.  This  extraordinary  check 
to  our  national  art  occurred  at  a time  which  offered 
the  most  essential  and  extraordinary  assistance  to 
its  progress.”  Flaxman  proceeds  to  remark,  “the 
civil  wars  completed  what  fanaticism  had  begun, 
and  English  art  was  so  completely  extinguished  that 
foreign  artists  were  always  employed  for  public  or 
private  undertakings.” 

Charles  I.  was  a great  lover  and  patron  of  the 
fine  arts,  and  during  his  reign  they  made  rapid  ad- 
vances in  England  ; but  the  blind  zeal  of  the  Puri- 
tans dispersed  his  splendid  gallery,  and  destroyed 
almost  every  vestige  of  art.  In  the  Journal  of  the 
House,  July  23d,  1645,  it  is  “ Ordered,  that  all  pic- 
tures having  the  second  person  of  the  Trinity,  be 
burnt.”  Walpole  relates  that  “ one  Blessie  was 
hired  at  half-a-crown  a day  to  break  the  painted 
windows  in  Croydon  church.”  One  Dowsing  was 
employed  from  June  9th,  1642,  to  October  4th,  1644, 
in  this  holy  business,  and  by  calculation  it  is  found 
that  he  and  his  agents  had  destroyed  about  4660 
pictures,  evidently  not  all  glass,  because  when  they 
were  glass  he  so  specified  them. 

“ The  result  of  this  continued  persecution,”  says 


106  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

Hay  don,  “ was  the  ruin  of  high  art,  for  the  people 
had  not  taste  enough  to  feel  any  sympathy  for  it 
independently  of  religion,  and  every  man  who  has 
pursued  it  since,  who  had  not  a private  fortune,  and 
was  not  supported  by  a pension,  like  We-st,  became 
infallibly  ruined.” 

POINTINGS  EVANESCENT. 

“ Few  works  are  more  evanescent  than  paintings. 
Sculpture  retains  its  freshness  for  twenty  centuries. 
The  Apollo  and  the  Venus  are  as  they  were.  But 
books  are  perhaps  the  only  productions  of  man  co- 
eval with  the  human  race.  Sophocles  and  Shaks- 
peare  can  be  produced  and  reproduced  forever. 
But  how  evanescent  are  paintings,  and  must  neces- 
sarily be  i Those  of  Zeuxis  and  Apelles  are  no  more, 
and  perhaps  they  have  the  s-ame  relation  to  Homei 
and  iEschylus,  that  those  of  Raffaelle  and  Guido 
have  to  Dante  and  Petrarch. 

“ There  is  however,  one  refuge  from  the  despon- 
dency of  this  contemplation.  The  material  part, 
indeed,  of  their  works  must  perish,  but  they  survive 
in  the  mind  of  man,  and  the  remembrances  of  them 
are  transmitted  from  generation  to  generation.  The 
poet  embodies  them  in  his  creations,  and  the  sys- 
tems of  philosophers  are  modeled  to  gentleness  by 
their  contemplation ; opinion,  that  legislator,  is  in- 
fected with  their  influence ; men  become  better  and 
wiser ; and  the  unseen  seeds  are  perhaps  thus  sown 
which  shall  produce  a plant  more  excellent  than 
that  from  which  they  fell.” — Shelley . 


SCULPTORS,  AND  ARCHITECTS. 


107 


There  is  at  least  another  refuge.  Paintings  are 
now  rendered  as  permanent  as  books  by  engraving, 
or  statuary,  by  mosaics.  In  the  time  of  Pliny,  there 
were  Greek  paintings  in  Pome  600  years  old.  There 
is  a painting  at  Florence  dated  886.  It  is  also  to 
be  hoped  that  Christianity  and  civilization  have 
made  such  advances,  that  no  more  Goths,  Vandals, 
Turks,  and  fanatics,  will  take  pleasure  in  demolish- 
ing works  of  art  as  in  ages  past. 

THE  ENGLISH  NATIONAL  GALLERY. 

“A  fine  gallery  of  pictures  is  a sort  of  illustration 
of  Berkeley’s  theory  of  matter  and  spirit.  It  is 
like  a palace  of  thought — another  universe,  built  of 
air,  of  shadows,  of  colors.  Everything  seems  palpa- 
ble to  feeling  as  to  sight ; substances  turn  to  shad- 
ows by  the  arch-chemie  touch ; shadows  harden  in- 
to substances ; 1 the  eye  is  made  the  fool  of  the 
other  senses,  or  else  worth  all  the  rest/  The  mate- 
rial is  in  some  sense  embodied  in  the  immaterial,  or 
at  least  we  see  all  things  in  a sort  of  intellectual  mir- 
ror. The  world  of  art  is  an  enchanting  deception. 
W e discover  distance  ip  a glazed  surface ; a pro- 
vince is  contained  in  a foot  of  canvass ; a thin  evan- 
escent tint  gives  the  form  and  pressure  of  rocks  and 
trees  ; an  inert  shape  has  life  and  motion  in  it.  Time 
stands  still,  and  the  dead  reappear  by  means  of  this 
so  potent  art ! 

“What  hues  (those  of  nature  mellowed  by  time) 
breathe  around,  as  we  enter  ! What  forms  are  there 


108 


ANECDOTES  OF  PAINTERS,  ENGRAVERS 


woven  into  the  memory ! What  looks,  which  only 
the  answering  looks  of  the  spectator  can  express  ! 
What  intellectual  stores  have  been  yearly  poured 
forth  from  the  shrine  of  ancient  art ! The  works  are 
various,  but  the  names  the  same ; heaps  of  Rem- 
brandts frowning  from  their  darkened  walls— Ru- 
bens’ glad  gorgeous  groups — Titian’s  more  rich  and 
rare — Claude  always  exquisite,  sometimes  beyond 
compare — G-uido’s  endless  cloying  sweetness — the 
learning  of  Poussin  and  the  Caracci — and  Raphael’s 
princely  magnificence,  crowning  all.  We  read  cer- 
tain letters  and  syllables  in  the  catalogue,  and  at  the 
well-known  magic  sound  a miracle  of  skill  and  beau- 
ty starts  to  view. 

il  Pictures  are  a set  of  chosen  images,  a stream  of 
pleasant  thoughts  passing  through  the  mind.  It  is 
a luxury  to  have  the  walls  of  our  rooms  hung  round 
with  them,  and  no  less  so  to  have  such  a gallery  in 
the  mind, — to  con  over  the  relics  of  ancient  art 
bound  up  ‘ within  the  book  and  volume  of  the  brain, 
unmixed:,  (if  it  were  possible)  with  baser  matter.’ 
A life  passed  among  pictures,  in  the  study  and  love  of 
art,  is  a happy,  noiseless  dream  : or  rather  it  is  to 
dream  and  to  be  awake  at  the  same  time,  for  it  has 
all  1 the  sober  certainty  of  waking  bliss,’  with  the 
romantic  voluptuousness  of  a visionary  and  abstract- 
ed being.  They  are  the  bright  consummate  essence 
of  things,  and  he  who  knows  of  these  delights,  1 to 
taste  and  interpose  them  oft,  is  not  unwise!’” — • 
liazlitt. 


SCULPTORS,  AND  ARCHITECTS. 


109 


THE  NUDE  FIGURE. 

“It  is  difficult  to  discover  any  settled  /ides  of  pro- 
priety in  the  different  modes  of  dress,  as  all  ages 
and  nations  have  fluctuated  with  regard  to  their  no- 
tions and  fashions  in  this  matter.  The  Greek  statues 
of  the  Laocoon,  Apollo,  Meleager,  Hercules;  the 
Fighting  and  Hying  Gladiator,  and  the  Venus  de  Me- 
dicis,  though  altogether  without  drapery,  yet  sure- 
ly there  is  nothing  in  them  offensive  to  modesty, 
nothing  immoral : on  the  contrary,  looking  on  these 
figures,  the  mind  of  the  spectator  is  taken  up  With 
the  surprising  beauty  or  sublimity  of  the  personage, 
his  great  strength,  vigorous  and  manly  ^uara&^er 
or  those  pains  and  agonies  that  **•'»  feelingly  discover 
themselves  throughout  the  whole  work.  It  is  noi 
in  showing  or  concealing  the  form  that  modesty  or 
the  want  of  it  depends ; that  rises  entirely  from  the 
choice  and  intentions  of  the  artist  himself.  The 
Greeks  and  other  great  designers  came  into  this 
practice  (of  representing  the  figure  undraped)  in 
order  to  show  in  its  full  extent  the  idea  of  character 
they  meant  to  establish.  If  it  was  beauty,  they 
show  it  to  you  in  all  the  limbs;  if  strength,  the 
same , and  the  agonies  of  the  Laocoon  are  as  dis- 
cernible in  hia  foot  as  in  his  face.  This  pure  and 
naked  nature  speaks  a universal  language,  which  is 
understood  and  valued  in  all  times  and  countries, 
where  the  Grecian  dress,  language,  and  manners  are 
neither  regarded  or  known.  It  is  worth  observing 
also  that  many  of  the  fair  sex  do  sometimes  be- 


110  ANECDOTES  OF  PAINTERS,  ENG  LAVERS, 

tray  themselves  by  their  over-delicacy  (which  is  ths 
want  of  all  true  delicacy)  in  this  respect.  But  I am 
ashamed  to  be  obliged  to  combat  such  silly  affecta- 
tions ; they  are  beneath  men  who  have  either  head 
or  heart;  they  are  unworthy  of  women  who  have 
either  education  or  simplicity  of  manner ; they  would 
disgrace  even  waiting-maids  and  sentimental  milli- 
ners-”— Barry. 

“ There  is  no  more  potent  antidote  to  low  sensuali- 
ty than  the  adoration  of  beauty.  All  the  higher  arts 
of  design  are  essentially  chaste,  without  respect  of 
the  object.  They  purify  the  thoughts,  as  tragedy 
according  to  Aristotle,  purities  the  passions.  The* 
accidental  effects  are  not  worth  consideration.  There 
are  souls  to  whom  even  a vestal  is  not  holy.” — A.  W 
von  Schlegel. 

DIFFERENT  SCHOOLS  OF  PAINTING  COMPARED 

“The  painters  of  the  Boman  school  were  the  best 
designers,  and  had  more  of  the  antique  taste  in  their 
works  tha^  uAy  of  the  others,  but  generally  they 
were  not  go.  d colorists.  Those  of  Florence  were 
good  designers,  and  had  a kind  of  greatness,  but  it 
was  not  antique.  The  Venetian  and  Lombard 
schools  had  excellent  colorists,  and  a certain  grace, 
but  entirely  modern,  especially  those  of  Venice ; but 
their  drawing  was  generally  incorrect,  and  their 
knowledge  in  history  and  the  antique  very  little. 
And  the  Bolognese  school  of  th^.  Caracci  is  a sort 
of  composition  of  the  others ; even  Annibal  himself 


Ill 


SCULPTORS,  AND  ARCHITECTS. 

possessed  not  any  part  of  painting  in  the  perfection 
which  is  to  be  seen  in  those  from  whom  his  manner 
is  composed,  though,  to  make  amends,  he  possessed 
more  parte  than  perhaps  any  other  master,  and  all 
in  a very  high  degree.  The  works  of  those  of  the 
German  school  have  a dryness  and  ungraceful  stiff- 
ness, not  unlike  what  is  seen  amongst  the  old  Floren- 
tines. The  Flemings  were  good  colorists,  and  imi- 
tated nature  as  they  conceived  it— that  is,  instead 
of  raising  nature,  they  fell  below  it,  though  not  so 
much  as  the  Germans,  nor  in  the  same  manner.  Ru- 
bens  himself  lived  and  died  a Fleming,  though  he 
would  fain  have  been  an  Italian ; but  his  imitators 
have  caricatured  his  manner — that  is,  they  have  been 
more  Rubens  in  his  defects  than  he  himself  was, 
but  without  his  excellencies.  The  French,  excepting 
some  few  of  them  (N.  Poussin,  Le  Sueur,  Sebastian 
Bourdon),  as  they  have  not  the  German  stiffness 
nor  the  Flemish  ungracefulness,  neither  have  they 
the  Italian  solidity ; and  in  their  airs  of  heads  and 
manners  they  are  easily  distinguished  from  the  an- 
tique, how  much  soever  they  may  have  endeavored 
to  imitate  it  Richardson. 

THE  OLD  MASTERS. 

“ The  duration  and  stability  of  the  fame  of  the 
old  masters  of  painting  is  sufficient  to  evince  that  it 
has  not  been  suspended  upon  the  slender  thread  of 
fashion  and  caprice,  but  bound  to  the  human  heart 
by  every  chord  of  sympathetic  approbation.” — Sir 
J.  Reynolds. 


112  ANECDOTES  OF  rAINTERS,  ENGK  AVERS, 

PRICES  OF  GALLERIES. 

The  prices  given  for  the  three  great  collections  of 
paintings  sold  in  England  within  the  last  century  ,r, 
may  perhaps  not  be  uninteresting.  The  Houghton 
gallery,  of  two  hundred  and  thirty-two  pictures,  col- 
lected by  Sir  Bobert  Walpole,  was  sold  to  the  Em- 
press Catharine  of  Bussia  for  £43,500.  The  Orleans 
gallery  of  two  hundred  and  ninety-six  pictures  was 
sold  in  London,  in  1798,  for  £43,555 ; and  the  An- 
gerstein  collection  of  thirty-eight  pictures  was  bought 
by  the  British  government,  in  1823,  for  £57,000. 
This  last  purchase  was  the  commencement  of  the 
English  National  Gallery. 

LOVE  MAKES  A PAINTER. 

Quintin  Matsys,  called  the  Blacksmith  of  Ant- 
werp, was  bred  up  to  the  trade  of  a blacksmith  or 
farrier,  which  business  he  followed  till  he  was  twen- 
ty years  of  age,  when,  according  to  Lampsonius,  his 
love  for  a blue-eyed  lass,  whose  cruel  father,  an  art- 
ist, refused  her  hand  to  any  one  but  a painter,  caused 
him  to  abandon  his  devotion  to  Yulcan,  and  inspired 
him  with  the  ambition  to  become  a worshipper  at 
the  shrine  of  the  Muses.  He  possessed  uncommon 
talents  and  genius,  applied  himself  with  great  assi- 
duity, and  in  a short  time  produced  pictures  that 
gave  promise  of  the  highest  excellence,  and  gained 
him  the  fab*  hand  for  which  he  sighed.  The  in- 
scription on  the  monument  erected  to  his  memory 
in  the  Cathedral  of  Notre  Dame,  at  Antwerp,  re 


SCULPTORS,  AND  ARCHITECTS. 


113 


cords  in  a few  expressive  words  the  singular  story 
of  his  life  : 

%t  Connubialis  amor  de  Mulcibre fecit  Apellem” 
JOHN  WESLEY  JARVIS. 

Jarvis,  though  a wayward  and  eccentric  man,  un- 
fortunately for  himself  and  the  world  too  much  giv- 
en to  strong  potations,  was  “ a fellow  of  infinite 
jest,  of  most  excellent  fancy,”  whose  “ gambols, 
songs,  and  flashes  of  merriment  were  wont  to  set 
the  table  on  a roar.”  He  was  a merry  wag,  and  an 
inimitable  story-teller  and  mimic.  Some  of  his 
stories  were  dramatized  by  Dunlap,  Hackett,  and 
Matthews,  the  best  of  which  is  the  laughable  farce 
of  Monsieur  Mallet.  Dunlap  says,  u Another  story 
which  Matthews  dressed  up  for  John  Bull,  origina- 
ted with  Jarvis.  From  a friend  I have  what  I sup- 
pose to  be  the  original  scene.  My  friend  was  pass- 
ing the  painter’s  room,  when  he  suddenly  threw  up 
the  window,  and  called  him  in,  saying,  1 1 have 
something  for  your  criticism,  that  you  will  be  pleas- 
ed with.’  He  entered,  expecting  to  see  a picture, 
or  some  other  specimen  of  the  fine  arts,  but  nothing 
of  the  kind  was  produced — he  was,  however,  intro- 
duced with  a great  deal  of  ceremony,  to  Monsieur 

B , ‘ celebrated  for  his  accurate  knowledge  of 

the  English  language,  and  intimate  critical  acquaint- 
ance with  its  poetry — particularly  Shakspeare.’  Mr. 
A , as  I shall  call  my  friend,  began  to  under- 

stand Jarvis’  object  in  calling  him  in.  After  a lit- 


114  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

tie  preliminary  conversation,  Jarvis  said,  ‘I  hope, 

Monsieur  B , you  still  retain  your  love  of  the 

drama  ?’  1 0 certainly,  sir,  wid  my  life  I renounce 

it.’  ‘ Mr.  A , did  you  ever  hear  Monsieur  re- 
cite ?’  ‘ Never.’  ‘ Your  recitations  from  Racine, 

Monsieur  B , will  you  oblige  us  ?’ 

“ The  polite  and  vain  Frenchman  was  easily  pre- 
vailed upon  to  roll  out  several  long  speeches,  from 
Racine  and  Corneille,  with  much  gesticulation  and 
many  a well-rounded  R.  This  was  only  to  intro- 
duce the  main  subject  of  entertainment.  L Monsieur 

B is  not  only  remarkable,  as  you  hear,  for  his 

very  extraordinary  recitations  from  the  poets  of  his 
native  land,  but  for  his  perfect  conquest  over  the 
difficulties  of  the  English  language,  in  the  most  dif- 
ficult of  all  our  poets — Shakspeare.  He  has  stud- 
ied Hamlet  and  Macbeth  thoroughly — and  if  he 

would  oblige  us — do,  Monsieur  B , do  give  us, 

“ To  be,  or  not  to  be.”  ’ 1 Sur,  the  language  is  too 

difficult — I make  great  efforts  to  be  sure,  but  still 
the  foreigner  is  to  be  detected.’  This  gentleman’s 
peculiarities  were  in  extreme  precision  and  double 
efforts  with  the  th  and  the  other  shibboleths  of  Eng- 
lish. The  unsuspecting  and  vain  man  is  soon  in- 
duced to  give  Hamlet’s  soliloquy,  the  th  forced  out 
as  from  a pop-gun,  and  some  of  the  words  irre- 
sistibly comic.  1 But2  Monsieur  B , you  are  par- 

ticularly great  in  Macbeth — that  “if  it  were  done, 
when  it  is  done,”  and  “ peep  through  the  blanket,” 
—come,  let  us  have  Macbeth.’  Then  followed 


SCULPTORS,  AND  ARCHITECTS, 


115 


Macbeth’s  soliloquies  in  the  same  style.  All  this 
was  ludicrous  enough,  but  upon  this  foundation  Jar- 
vis raised  a superstructure,  which  he  carried  as  high 
as  the  zest  with  which  it  was  received  by  his  com- 
panions, his  own  feelings,  or  other  circumstances 
prompted  or  warranted.  The  unfortunate  Monsieur 

B was  imitated  and  caricatured  with  most 

laugh-provoking  effect ; but  to  add  to  the  treat,  he 
was  made  not  only  to  recite,  but  to  comment  and 
criticise.  1 If  it  were  done,’  1 peep  through  the 
blanket,’  and,  ‘ catch  with  the  sursease,  success,’ 
gave  a rich  field  for  the  imaginary  critic’s  commen- 
taries—then  he  would  expose,  and  overthrow  Vol- 
taire’s criticisms,  and  give  as  examples  of  the  true 
sublime  in  tragedy,  the  scene  of  the  witches  in  Mac 
beth. 

“ 6 Huen  shall  we  thtree  meet  aggen?’  but, 1 mounch- 
ed,  and  mounched,  and  mounched,’  was  a delicious 
feast  for  the  critic — and  1 rrump  fed  rr onion,’  gave  an 
opportunity  to  show  that  the  English  witch  was  a true 
John  Bull,  and  fed  upon  the  ‘ rrump  of  the  beef,’ 
c thither  in  a sieve  I’ll  sail  and  like  a rat  without  a 
tail,  I’ll  do — I’ll  do — I’ll  do,’  being  recited  in  bur- 
lesque imitation,  gives  an  opportunity  for  comment 
and  criticism,  something  in  this  manner.  1 You  see 
not  only  how  true  to  nature,  but  to  the  science  of 
navigation  all  this  is.  If  the  rat  had  a tail,  he  could 
steer  the  sieve  as  the  sailor  steer  his  ship  by  the 
rudder  ; but  if  he  have  no  tail,  he  cannot  command 
the  navigation,  that  is,  the  course  of  the  sieve  ; and 


16 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


it  will  run  round — and  round — and  round—  that  is 
what  the  witch  say — “ I’ll  do — I’ll  do — I’ll  do  !”  ’ 
But  how  can  the  humor  of  the  story-teller  be  repre- 
sented by  the  writer — or  how  can  I dispose  my 
reader  to  receive  a story  dressed  in  cold  black  and 
white — in  formal  type — with  the  same  hilarity  which 
attends  upon  the  table,  and  the  warm  and  warming 
rosy  wine  ? The  reader  has  perceived  the  want  of 
these  magical  auxiliaries  in  the  above.” 

Jarvis  was  equally  ludicrous  in  his  readings  from 
Shakspeare,  in  imitation  of  the  stutterer  and  lisper. 
The  venerable  Dr.  C.  8.  Francis,  who  was  intimately 
acquainted  with  the  painter,  says,  “ Dr.  Syntax  nev- 
er with  more  avidity  sought  after  the  sublime  and 
picturesque,  than  did  Jarvis  after  the  scenes  of 
many-colored  life ; whether  his  subject  was  the  au- 
thor of  Common  Sense  or  the  notorious  Baron  von 
Hoffman.  His  stories,  particularly  those  connected 
with  his  southern  tours,  abounded  in  motley  scenes 
and  ludicrous  occurrences ; there  was  no  lacking  of 
hair-breadth  escapes,  whether  the  incidents  involved 
the  collisions  of  intellect,  or  sprung  from  alligators 
and  rattlesnakes.  His  humor  won  the  admiration 
of  every  hearer,  and  he  is  recognized  as  the  master 
of  anecdote.  But  he  deserves  to  be  remembered 
on  other  accounts — his  corporeal  intrepidity  and  his 
reckless  indifference  of  consequences.  I believe 
there  have  been  not  a few  of  the  faculty  who  have 
exercised,  with  public  advantage,  their  professional 
duties  among  us  for  a series  of  years,  who  never  be- 


SCULPTORS,  AND  ARCHITECTS. 


1 IT 


came  as  familiar  with  the  terrific  scenes  of  yellow 
fever  and  of  malignant  cholera  as  Jarvis  did.  He 
seemed  to  have  a singular  desire  to  become  person- 
ally acquainted  with  the  details  connected  with  such 
occurrences ; and  a death-bed  scene,  with  all  its  ap- 
palling circumstances,  in  a disorder  of  a formidable 
character,  was  sought  after  by  him  with  the  solici- 
tude of  the  inquirer  after  fresh  news.  Nor  was  this 
wholly  an  idle  curiosity.  Jarvis  often  freely  gave 
of  his  limited  stores  to  the  indigent,  and  he  listened 
with  a fellowT  feeling  to  the  recital  of  the  profuse 
liberality  with  which  that  opulent  merchant  of  our 
city,  the  late  Thomas  H.  Smith,  supplied  daily  the 
wants  of  the  afflicted  and  necessitous  sufferer  dur- 
ing the  pestilence  of  1832. 

“ We  are  indebted  to  Jarvis  for  probably  the  best, 
if  not  the  only  good  drawing  of  the  morbid  effects 
of  cholera  on  the  human  body  while  it  existed  here 
in  1832.  During  that  season  of  dismay  and  dan- 
ger our  professional  artists  declined  visiting  the 
cholera  hospitals,  and  were  reluctant  to  delineate 
when  the  subject  was  brought  to  them.  But  it 
afforded  a new  topic  for  the  consideration  of  J arvis, 
and  perhaps  also  for  the  better  display  of  his  ana- 
tomical attainments,  he  with  promptitude  discharged 
the  task.  When  making  a drawing  from  the  lifeless 
and  morbid  organs  of  digestion,  to  one  who  inquired 
if  he  were  not  apprehensive  of  danger  while  thus 
employed,  he  put  the  interrogatory,  ‘ Pray  what  part 
of  the  system  is  affected  by  the  cholera?’  ‘ The  di 


18  ANECLh/TES  of  painters,  engravers, 


gestive  organs,’  was  the  reply.  ‘ Oh  no,  then,’  said 
J arvis,  i for  now  yon  see  I am  doubly  armed — I am 
furnished  with  two  sets.’  ” 

THE  BIGGEST  LIE. 

Jarvis  resided  a long  time  at  Charleston,  8.  C., 
where  his  convivial  qualities  made  him  a great  favor- 
ite. On  one  occasion,  at  a large  dinner  party,  after 
the  wine  had  freely  circulated,  banishing  not  only 
form,  but  discretion,  some  one  of  the  company  pro- 
posed that  they  should  make  up  a prize  to  the  man 
who  would  tell  the  greatest  and  most  palpable  lie. 
It  was  purposely  arranged  that  Jarvis  should  speak 
last.  The  President  began.  They 

“ Spoke  of  most  disastrous  chances, 

Of  moving  accidents  by  flood  and  field.” 

Lie  followed  lie ; and  as  it  is  easy  to  heap  absurdity 
upon  absurdity,  and  extravagance  on  enormous 
exaggeration ; and  as  easy  to  excite  laughter  and 
command  applause,  when  champaigne  has  been  en- 
throned in  the  seat  of  judgment,  each  lie  was  hailed 
with  shouts  of  approbation  and  bursts  of  merriment. 
One  of  the  company,  who  sat  next  to  Jarvis,  had  ex- 
ceeded all  his  competitors,  and  unanimous  admira- 
tion seemed  to  ensure  him  the  prize.  The  lie  was 
so  monstrous  and  palpable,  that  it  was  thought  wit 
or  ingenuity  could  not  equal  it.  Still,  something 
was  expected  from  the  famous  story-teller,  and 
every  eye  was  turned  on  the  painter.  He  rose,  and 


SCULPTORS,  AND  ARCHITECTS. 


119 


placing  liis  band  on  bis  breast  and  making  a low 
bow,  gravely  said,  “ Gentlemen,  I assure  you  that  I 
fully  and  unequivocally  believe  every  word  the  last 
speaker  has  uttered.”  A burst  of  applause  followed, 
and  the  prize  was  adjudged  to  the  witty  artist. 

JARVIS  AND  BISHOP  MOORE. 

Jarvis  } ainted  the  portrait  of  Bishop  Benjamin 
Moore,  who  used  to  relate  one  of  lus  quick  strokes 
of  humor  with  great  glee.  The  good  Bishop,  dur- 
ing one  of  the  sittings,  introduced  the  subject  of  re- 
ligion, and  asked  Jarvis  some  questions  as  to  his  be- 
lief or  practice.  The  painter,  with  an  arch  look, 
but  as  if  intent  upon  catching  the  likeness  of  the 
sitter,  waved  his  hand  and  said,  u Turn  your  face 
more  that  way,  Bishop,  and  shut  your  mouth” 

JARVIS  AND  COMMODORE  PERRY. 

When  Jarvis  painted  the  portrait  of  Commodore 
Perry,  he  wished  to  infuse  into  the  likeness  of  the 
hero  the  fire  which  ' goosed  animated  him  dur- 
ing the  terrible  contest  on  Lako  Erie.  During  two 
or  three  sittings  he  triv  l m vain  to  rouse  him  by  his 
lively  conversation ; he  would  soon  sink  into  a 
reverie ; it  was  evident  the, / ^houghos  were  far 

away.  The  painter  now  had  recourse  to  artifice. 
He  deliberately  laid  down  his  palette  and  pencils, 
got  up,  and  seizing  a chair,  swung  it  over*  his  head 
in  a menacing  manner.  This  strange  conduct  in- 
stantly brought  Perry  to  his  foT,  his  eyes  flashing 


120  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

fire,  and  every  feature  lit  up  with  the  desired  expres- 
sion. “There,  that  will  do,”  said  the  painter; 
“ please  sit  just  as  you  are.”  The  result  was  the  ad- 
mirable picture  which  now  adorns  our  City  Hall,  re- 
presenting the  hero  standing  in  his  boat,  with  his  flag 
in  one  arm,  triumphantly  waving  his  sword,  as  he  left 
the  dismantled  St.  Lawrence  for  the  Niagara,  to  re- 
new the  contest,  resolved  to  conquer  or  die. 

JARVIS  AND  THE  PHILOSOPHER. 

Jarvis  was  a great  wag  as  well  as  an  inimitable 
story-teller.  Whenever  he  met  with  an  eccentric 
genius,  he  delighted  to  make  him  indulge  in  strong 
potations,  and  then  engage  him  on  his  favorite  hobby. 
On  one  such  occasion,  a gentleman  who  had  a 
smattering  of  Zoology,  declared  it  as  his  opinion, 
that  it  was  possible  to  change  the  nature  of  animals ; 
for  instance,  that  by  cutting  off  the  end  of  dogs’  or 
monkeys’  tails  for  a few  generations,  they  would  be- 
come tailless.  “That  is  capital  logic,”  said  Jarvis, 
“I  wonder  that  the  Jews  have  now  any  tails  I” 
The  philosopher  shot  out  of  the  room  amidst  shouts 
of  laughter 

JARVIS  AND  DR.  MITCHELL. 

Jarvis  could  not  forbear  to  crack  a joke  on  the 
learned  Dr.  Mitchell,  whose  profundity  sometimes 
led  him  to  analyze  cause  and  effect  in  a hyper-philo- 
sophical maimer.  “ Can  you  tell,”  said  he  one  day  to 
the  learned  Doctor,  who  was  sitting  for  his  portrait, 


SCULPTORS,  AND  ARCHITECTS. 


121 


“ why  white  sheep  eat  more  than  black  ones ?”  “ But 
is  it  a fact?”  enquired  the  Doctor.  “Most  assured 
ly,”  said  the  painter,  “ as  every  farmer  will  tell  you.” 
The  Doctor  then  went  on  to  give  sundry  philoso- 
phical reasons  why  white  sheep  might  require  more 
food  than  black  ones.  “ Your  reasons  are  excel- 
lent—but  I think  I can  give  you  a better  one.  In 
my  opinion  the  reason  why  white  sheep  eat  more 
than  black  ones  is,  because  there  are  more  of  them!” 

JARVIS’  HABITS. 

Jarvis,  in  his  more  prosperous  days,  was  always 
.mprovident  and  recklessly  extravagant.  Dunlap 
says,  “ when  he  went  to  New  Orleans  for  the  first 
time,  (in  1833)  he  took  Henry  Inman  with  him. 
To  use  his  own  words,— ‘ my  purse  and  my  pockets 
were  empty;  (when  he  went  to  N.  0.)  I spent  $3000 
there  in  six  months,  and  brought  $3000  to  New 
York.  The  next  winter  I did  the  same.’  He  used 
to  receive  six  sitters  a day.  A sitting  occupied  an 
hour.  The  picture  was  then  handed  to  Inman, 
who  painted  upon  the  background  and  drapery  un- 
der the  master’s  directions.  Thus  six  portraits 
were  finished  each  week.”  His  prices, at  this  time 
were  $100  for  a head,  and  $150  for  head  and  hands. 

“Mr.  Sully  once  told  me,”  says  Dunlap,  “that 
calling  on  Jarvis,  he  was  shown  into  a room,  and 
left  to  wait  some  minutes  before  he  entered.  He 
saw  a book  on  the  table  amidst  palette,  brushes, 
tumblers,  candlesticks,  and  other  heterogeneous  afi 


i22  anecdotes  of  painters,  enge,  avers, 

fairs,  and  on  opening  it,  he  found  a life  of  Mor< 
land.  When  Jarvis  came  into  the  room,  Sully  sa 
with  the  book  in  his  hand.  1 Do  you  know  why  i 
like  that  book  ?’  said  Jarvis.  ‘ I suppose  because  i 
is  the  life  of  a painter,’  was  the  reply.  ‘Not  merely 
that,’  rejoined  the  other,  ‘ but  because  I think  ho 
was  like  myself.’”  What  a commentary!  More- 
land was  a man  of  genius,  and  might  have  shone  as 
a bright  star  in  the  history  of  art,  had  he  not  degra- 
ded himself  by  dissipation,  almost  to  a level  with 
the  pigs  he  delighted  to  paint.  The  glory  of  both 
Stuart  and  Jarvis  is  obscured  by  the  same  fatal 
passion.  “ 0 that  men  should  put  an  enemy  in 
their  mouths,  to  steal  away  their  brains ! that  we 
should,  with  joy,  revel,  pleasure,  and  applause, 
transform  ourselves  into  beasts.” 

“ J arvis,”  says  Dunlap,  “ was  fond  of  notoriety  from 
almost  any  source,  and  probably  thought  it  aided 
him  in  his  profession.  His  dress  was  generally 
unique.  His  long  coat,  trimmed  with  furs  like  a 
Russian  prince,  or  a potentate  from  the  north  pole, 
and  his  two  enormous  dogs  which  accompanied  him 
through  the  streets,  and  often  carried  home  his  mar- 
ket basket,  must  be  remembered  by  many.” 

ROBERT  FULTON. 

It  is  not  generally  knowm  that  this  celebrated  en- 
gineer was  in  his  early  life  a practical  painter. — 
From  the  age  of  17  to  21,  he  painted  portraits  and 
landscapes  in  Philadelphia.  In  his  22d  year,  he 


SCULPTORS,  AND  ARCHITECTS. 


123 


went  to  England  to  prosecute  his  studies  under 
West,  who  received  him  with  great  kindness,  and 
was  so  much  pleased  with  his  genius  and  amiable 
qualities,  that  he  took  him  into  his  own  house,  as  a 
member  of  his  family.  After  leaving  West,  he 
seems  to  have  made  painting  his  chief  employment 
for  a livelihood  for  several  years,  though  at  this  time, 
his  mind  was  occupied  wkh  various  great  projects 
connected  with  engineering.  In  1797,  he  went  to 
Paris  in  prosecution  of  these  projects,  and  to  fill  his 
empty  coffers,  he  projected  the  first  panorama  ever 
exhibited  in  that  city.  He  was  a true  lover  of  art, 
too,  and  endeavored  to  induce  the  citizens  of  Phila- 
delphia to  get  up  a subscription  to  purchase  some 
of  West’s  choicest  pictures,  which  then  could  have 
been  bought  very  cheap,  as  the  commencement  of  a 
gallery  in  that  city. 

AN  EXALTED  MIND  AND  A TRUE  PATRIOT. 

Robert  Pulton,  after  years  of  toil,  anxiety,  and 
ridicule,  thus  writes  to  his  friend,  Joel  Barlow,  im- 
mediately after  his  first  steam-boat  voyage  from  New 
York  to  Albany  and  back : 

‘ New  York,  August  2,  1807. 

“My  dear  Friend — My  steam-boat  voyage  to 
Albany  and  back,  has  turned  out  rather  more  favo- 
rably than  I had  calculated.  The  distance  from 
New  York  to  Albany  is  150  miles;  I ran  it  up  in 
thirty-two  hours,  and  down  in  thirty  hours ; the  lat- 


IM  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

ter  is  five  miles  an  hoar.  I had  a light  breeze 
against  me  the  whole  way,  going  and  coming,  so 
that  no  use  was  made  of  my  sails,  and  the  voyage 
has  been  performed  wholly  by  the  power  of  the 
steam  engine.  I overtook  many  sloops  and  schoon- 
ers, beating  to  windward,  and  passed  them  as  if 
they  had  been  at  anchor. 

“ The  power  of  propelling  boats  by  steam,  is  now 
fully  proved.  The  morning  I left  New  York,  there 
were  not,  perhaps,  thirty  persons,  who  believed  that 
the  boat  would  move  one  mile  an  hour,  or  be  of  the 
least  -utility ; and  while  we  were  putting  off  from  the 
wharf,  which  was  crowded  with  spectators,  I heard 
a number  of  sarcastic  remarks.  This  is  the  waj 
you  know,  in  which  ignorant  men  compliment  what 
they  call  philosophers  and  projectors. 

“ Having  employed  much  time,  money,  and  zeal, 
in  accomplishing  this  work,  it  gives  me,  as  it  will 
you,  great  pleasure,  to  see  it  so  fully  answer  my  ex- 
pectations. It  will  give  ,a  quick  and  cheap  convey- 
ance to  merchandize  on  the.  Mississippi,  Missouri, 
and  other  great  rivers,  which  are  now  laying  open 
their  treasures  to  the  enterprise  of  our  countrymen. 
Although  the  prospect  of  personal  emolument  has 
been  some  inducement  to  me,  yet  I feel  infinitely 
more  pleasure  in  reflecting  on  the  immense  advan- 
tages my  country  will  derive  from  the  invention.” 
GILBERT  CHARLES  STUART. 

This  preeminent  portrait  painter  was  born  at  Nar- 
ragansett,  Rhode  Island,  in  1756.  He  received  his 


SCULPTORS,  AND  ARCHITECTS. 


125 


Erst  instruction  from  a Scoteh  painter  at  Newport, 
named  Alexander,  who  was  so  much  pleased  with 
his  talents  and  lively  disposition,  that  he  took  him 
with  him  on  his  return  to  Scotland.  His  friend  dy- 
ing soon  after,  the  youth  found  himself  pennyless  in 
a strange  country,  but  undismayed,  he  resolved  to 
return  home,  and  found  himself  obliged  to  work  his 
passage  before  the  mast.  He  had  already  made 
considerable  progress  in  art,  and  on  his  return  com 
menced  portrait  painting,  although  without  meet- 
ing much  encouragement.  He  was  in  Boston  at 
the  time  of  the  Battle  of  Lexington,  but  immedi- 
ately left  that  city  and  went  to  New  York,  where 
he  painted  the  portrait  of  his  grandmother  from 
memory,  though  she  had  been  dead  about  ten  years, 
which  is  said  to  have  been  a capital  likeness,  and 
gained  him  some  business.  About  this  time  he 
painted  his  own  portrait,  the  only  one  he  ever  took 
of  himself,  to  the  excellence  of  which  his  friend  Dr. 
Waterhouse  bears  ample  testimony.  He  says,  “it 
was  painted  in  his  freest  manner,  and  with  a Ru- 
bens’ hat,”  and  in  another  place,  that  “ Stuart  in  his 
best  days,  said  he  need  not  be  ashamed  of  it.” 

STUART  GOES  TO  LONDON. 

Not  meeting  with  any  adequate  encouragement, 
and  the  country  being  in  a deplorable  state,  in  the 
midst  of  the  Revolution  Stuart  set  sail  for  London 
in  1778,  at  the  age  of  twenty-two,  to  try  his  fortunes 
n that  city.  He  was  a wayward  and  eccentric 


12b 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

genius,  proud  as  Lucifer  withal ; and  on  his  arrrvJ 
in  that  metropolis,  he  found  himself  full  of  poverty, 
enthusiasm,  and  hope, — often  a painter’s  only  capi- 
tal. He  expected  to  have  found  Waterhouse,  who 
would  have  helped  him  wi'th  his  advice,  and  purse 
if  necessary,  but  he  had  gone  to  Edinburg.  Instead 
of  going  directly  to  West,  as  he  should  have  done, 
he  wandered  about  the  “ dreary  solitude”  of  Lon- 
don, as  Johnson  used  to  characterize  the  busy  hum 
of  that  crowded  city  to  the  poverty-stricken  sons  of 
genius,  till  he  had  expended  his  last  dollar. 

STUART  AN  ORGANIST  . 

Stuart  had  a great  taste  for  music,  which  he  had 
cultivated,  and  was  an  accomplished  musician.  One 
day,  as  he  was  passing  a church  in  Eoster-Lane, 
hearing  the  sound  of  an  organ,  he  stepped  in,  and 
ascertaining  that  the  vestry  were  testing  the  candi- 
dates for  the  post  of  organist,  he  asked  if  he  might 
try.  Being  told  that  he  could,  be  did  so,  and  suc- 
ceeded in  getting  the  place,  with  a salary  of  thirty 
guineas  a year ! 

STUART’S  INTRODUCTION  TO  WEST. 

During  all  this  time,  for  some  unknown  reason, 
Stuart  never  sought  the  acquaintance  of  West,  but 
the  moment  that  excellent  man  heard  of  the  young 
painter  and  his  circumstances,  he  immediately  sent 
a messenger  to  him  with  money  to  relieve  his  neces- 
sities, and  invited  him  to  call  at  his  studio.  “ Such 


SCULPTORS,  AND  ARCHITECTS.  tfc, 

was  Stuart’s  first  introduction,”  says  Dunlap  to 
the  man  from  whose  instruction  he  derived  the  most 
important  advantages  from  that  time  forward;  whose 
character  he  always  justly  appreciated,  but  whose 
example  he  could  not,  or  would  not  follow.”  Stu- 
art himself  says,  “ On  application  to  West  to  receive 
me  as  a pupil,  I was  welcomed  with  true  benevo- 
lence, encouraged  and  taken  into  the  family,  and  no- 
thing could  exceed  the  attentions  of  the  great  art- 
ist to  me — they  were  paternal.”  He  was  twenty- 
four  years  old  when  he  entered  the  studio  of  West. 
Before  he  left  the  roof  of  his  benefactor  and  teach- 
er, he  painted  a full-length  portrait  of  him,  which 
elicited  general  admiration.  It  was  exhibited  at  the 
Boyal  Academy,  and  the  young  painter  paid  fre- 
quent visits  to  the  exhibition  rooms.  It  happened 
that  one  day,  as  he  stood  near  the  picture,  surround- 
ed by  artists  and  students  (for  he  had  fine  wit,  and 
was  an  inimitable  story-teller),  West  came  in  and 
joined  the  group.  He  praised  the  picture,  and  ad- 
Iressing  himself  to  his  pupil,  said,  “ you  have  done 
well,  Stuart,  very  well ; now  all  you  have  to  do  is 
to  go  home  and  do  better.”  Stuart  always  express- 
ed the  obx^gations  he  was  under  to  that  distinguish- 
ed artist.  When  West  saw  that  he  was  fitted  for 
tne  field,  prepared  for  and  capable  of  contending 
with  the  best  portrait  painters,  he  advised  him  to 
commence  his  professional  career,  and  pointed  out  to 
him  the  way  to  fame  and  fortune.  But  Stuart  did  not 
follow  this  wise  counsel,  preferring  to  indulge  his 


128 


ANECDOTES  OF  iJAli\  lERS,  ENGRAVERS, 


own  wayward  fancy.  He  had  a noble,  generoua, 
and  disinterested  heart,  but  he  was  eccentric,  im- 
provident, and  extravagant,  and  consequently  he  was 
always  in  necessitous  circumstances. 

STUART  AND  WEST. 

“ I used  often  to  provoke  my  good  old  master,” 
said  Stuart  to  Dunlap,  “though,  heaven  knows, 
without  intending  it.  You  remember  the  color  clos- 
et at  the  bottom  of  his  painting-room.  One  day, 
Trumbull  and  I came  into  his  room,  and  little  sus- 
pecting that  he  was  within  hearing,  I began  to  lec- 
ture on  his  pictures,  and  particularly  upon  one  then 
on  his  easel.  I was  a giddy,  foolish  fellow  then. 
He  had  begun  a portrait  of  a child,  and  he  had  a 
way  of  making  curly  hair  by  a flourish  of  his  brush, 
thus,  like  a figure  of  three.  “ Here,  Trumbull,” 
said  I,  “ do  you  want  to  learn  how  to  paint  hair  ? 
There  it  is,  my  boy ! Our  master  figures  out  a head 
of  hair  like  a sum  in  arithmetic.  Let  us  see— we 
may  tell  how  many  guineas  he  is  to  have  for  this 
head  by  simple  addition, — three  and  three  make  six, 
and  three  are  nine,  and  three  are  twelve — ” How 
much  the  sum  would  have  amounted  to,  I can’t  tell, 
for  just  then  in  stalked  the  master,  with  palette-knife 
and  palette,  and  put  to  flight  my  calculations. 
“Very  well,  Mr.  Stuart” — he  always  mistered  me 
when  he  was  angry,  as  a man’s  wife  calls  him  my 

dear , when  she  wishes  him  to  the  d 1, — “ Very 

well,  Mr.  Stuart ! very  well  indeed !”  You  may 


SCULPTORS,  ANH  RCHITECTS. 


129 


believe  that  I looked  foolish  enough,  and  he  gave 
me  a pretty  sharp  lecture,  without  my  making  any 
reply.  But  when  the  head  was  finished,  there  were 
no  figures  of  three  in  the  hair.” 

“ Mr.  West,”  says  Stuart,  “ treated  me  very  cav- 
alierly on  one  occasion  ; but  I had  my  revenge.  My 
old  master,  who  was  always  called  upon  to  paint  a 
portrait  of  his  majesty  for  every  governor-general 
sent  out  to  India,  received  an  order  for  one  for  Lord 

He  was  busily  emplojmd  upon  one  of  his  ten- 

acre  pictures,  in  company  with  prophets  and  apos- 
tles, and  thought  he  could  turn  over  the  king  to  me. 
He  could  never  paint  a portrait. 

“ 1 Stuart,’  said  he,  1 it  is  a pity  to  make  his  ma- 
jesty sit  again  for  his  picture ; there  is  the  portrait 
of  him  that  you  painted ; let  me  have  it  for  Lord 

. I will  retouch  it,  and  it  will  do  well  enough.’ 

( Well  enough  ! very  pretty,’  thought  I ; 1 you  might 
be  civil,  when  you  ask  a favor.’  So  I thought  ; but 
I said , t Very  well,  sir.’  So  the  picture  was  car- 
ried down  to  his  room,  and  at  it  he  went.  I saw  he 
was  puzzled.  He  worked  at  it  all  that  day.  The 
next  morning,  4 Stuart,’  says  he,  ‘ have  you  got  your 
palette  set?’  1 Yes,  sir.’  1 WdlL,  you  can  soon  set 
another  ; let  me  have  it ; I can’t  satisfy  myself  with 
that  head.’ 

u I gave  him  my  palette,  and  he  worked  the  great- 
er part  of  that  day.  In  the  afternoon  I went  into 
his  room.,  and  he  was  hard  at  it.  I saw  that  he  had 
got  up  to  the  knees  in  mud.  ‘ Stuart,’  says  he,  1 1 


130  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

don’t  know  how  it  is,  but  yon  have  a way  of  man- 
aging your  tints  unlike  every  body  else.  Here,  take 
the  palette,  and  finish  the  head.’  4 I can’t,  sir.’ 
4 You  can’t  ?’  4 I can’t  indeed,  sir,  as  it  is  ; but  let 

it  stand  till  to-morrow  morning  and  get  dry,  and  I 
will  go  over  it  with  all  my  heart.’  The  picture  was 
to  go  away  the  day  after  the  morrow ; so  he  made  me 
promise  to  do  it  early  next  morning. 

He  never  came  down  into  the  painting  room  until 
about  ten  o’clock.  I went  into  his  room  bright  and 
early,  and  by  half  past  nine  I had  finished  the  head. 
That  done,  Rafe  (Raphael  West,  the  master’s  son) 
and  I began  to  fence ; I with  my  maul-stick,  and  he 
with  his  father’s.  I had  just  driven  Rafe  up  to  the 
wall,  with  his  back  to  one  of  his  father’s  best  pictures, 
when  the  old  gentleman,  as  neat  as  a lad  of  wax,  with 
his  hair  powdered,  his  white  silk  stockings  and  yellow 
morocco  slippers,  popped  into  the  room,  looking  as  if 
he  had  stepped  out  of  a band-box.  We  had  made  so 
much  noise  that  we  did  not  hear  him  come  down  the 
gallery,  or  open  the  door.  4 There,  you  dog,’  says  I 
to  Rafe,  4 there  I have  you,  and  nothing  but  your 
back-ground  relieves  you.’ 

The  old  gentleman  could  not  help  smiling  at  my 
technical  joke,  but  soon  looking  very  stern,  4 Mr. 
Stuart,’  says  he,  4 is  this  the  way  you  use  me  ?” 
4 Why  ! what’s  the  matter,  sir  ? I have  neither 
hurt  the  boy  nor  the  background.’  4 Sir,  when  you 
knew  I had  promised  that  the  picture  of  his  majesty 
should  be  finished  to-day,  ready  to  be  sent  away  to 


SCULPTORS,  AND  ARCHITECTS. 


131 


morrow,  thus  to  be  neglecting  me  and  your  promise  ! 
How  can  you  answer  it  to  me  or  to  yourself  ?’ 

“ ‘ Sir,’  said  I,  L do  not  condemn  me  without  exam- 
ining the  easel.  I have  finished  the  picture  : please 
to  look  at  it.5  He  did  so,  complimented  me  highly, 
and  I had  ample  revenge  for  his,  1 It  will  do  well 
enough.5  55 

STUART’S  SCHOLARSHIP. 

Trumbull,  speaking  of  Stuart  as  he  knew  him  in 
London,  says,  “ He  was  a much  better  scholar  than  I 
had  supposed  he  was.  He  once  undertook  to  paint 
my  portrait,  and  I sat  every  day  for  a week,  and  then 
he  left  off  without  finishing  it,  saying,  1 he  could 

make  nothing  of  my  d — d sallow  face.5  But 

during  the  time,  in  his  conversation,  I observed  that 
he  had  not  only  read,  but  remembered  what  he  had 
read.  In  speaking  of  the  character  of  man,  he  said, 
‘ Linnaeus  is  right ; Plato  and  Diogenes  call  man  a 
biped  without  feathers ; that’s  a shallow  definition. 
Franklin’s  is  better — a tool-making  animal ; but 
Linnaeus’  is  the  best — homo,  animal  mendax,  rapax, 
pugnax.5  ” 

STUART’S  RULE  OF  THE  PAYMENT  OF  HALF  PRICE  AT 
THE  FIRST  SITTING. 

Stuart  thus  explains  how  he  came  to  adopt  a cus- 
tom, which,  when  practicable,  commends  itself  to 
others.  “ Lord  St.  Yincent,  the  Duke  of  Northum- 
berland, and  Colonel  Barre,  came  unexpectedly  into 
my  room,  one  morning  after  my  setting  up  an  inde- 


132  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

pendent  easel,  and  explained  the  object  of  their  visit. 
They  understood  that  I was  under  pecuniary  env 
barrassment,  and  offered  me  assistance,  which  I de- 
clined. They  then  said  they  would  sit  for  their  por- 
traits; of  course  I was  ready  to  serve  them.  They 
then  advised  that  I should  make  it  a rule  that  half 
the  price  must  be  paid  at  the  first  sitting.  They  in- 
sisted on  setting  the  example,  and  I followed  the  prac- 
tice, ever  after  this  delicate  mode  of  their  showing 
their  friendship.” 

STUART’S  POWERS  OF  PERCEPTION. 

Stuart  read  men’s  characters  at  a glance,  and  al- 
ways engaged  his  sitters  on  some  interesting  topic 
fof  conversation,  and  while  their  features  were  thus 
lit  up,  be  transferred  them  to  his  canvas,  with  the 
magic  of  his  pencil.  Hence  his  portraits  are  full  of 
animation,  truth,  and  nature.  This  trait  is  well 
illustrated  by  the  following  anecdote.  Lord  Mul- 
grave  employed  him  to  paint  his  brother,  General 
Phipps,  who  was  going  out  to  India.  When  the 
portrait  was  finished,  and  the  general  had  sailed, 
the  Earl  called  for  the  picture,  and  on  examining  it, 
he  seemed  disturbed,  and  said,  “ This  picture  looks 
strange,  sir ; how  is  it  ? I think  I see  insanity  in 
that  face  !”  “ I painted  your  brother  as  I saw  him,” 

replied  the  painter.  The  first  account  Lord  Mul- 
grave  had  of  his  brother  was,  that  insanity,  un- 
known and  unapprehended  by  any  of  his  friends, 
had  driven  him  to  commit  suicide.  Washington 


SCULPTORS,  AN^  ARCHITECTS.  133 

Allston,  in  his  eulogium  on  Stuai-  says,  “ Thenar 
vatives  and  anecdotes  with  which  his  knowledge  of 
men  and  the  wTorld  had  stored  his  memory,  and 
which  he  often  gave  with  great  beauty  and  dramatic 
effect,  were  not  unfrequently  employed  by  Mi . Stu- 
art in  a way,  and  with  an  address  peculiar  to  him- 
self. From  tnis  store  it  was  his  custom  to  draw 
largely,  while  occupied  with  his  sitters,  apparently 
for  their  amusement ; but  his  object  was  rather,  by 
thus  banishing  all  restraint,  to  call  forth,  if  possible, 
some  involuntary  traits  of  natural  character.  It 
was  this  which  enabled  him  to  animate  his  canvass, 
not  with  the  appearance  of  mere  general  life,  but 
with  that  peculiar,  distinctive  life  wdiich  separates 
the  humblest  individual  from  his  kind.  He  seemed 
to  dive  into  the  thoughts  of  men — for  they  were 
made  to  rise  and  speak  on  the  surface.” 

STUART’S  CONVERSATIONAL  POWERS. 

Hr.  Waterhouse  relates  the  following  anecdote  ol 
Stuart.  He  was  traveling  one  day  in  an  English 
stagecoach,  with  some  gentlemen  who  were  all 
strangers,  and  at  first  rather  taciturn,  but  be  soon 
engaged  them  in  the  most  animated  conversation. 
At  length  they  arrived  at  their  place  of  destination, 
and  stopped  at  an  inn  to  dine.  “ His  companions,” 
eays  the  Doctor,  u were  very  desirous  to  know  wk& 
and  what  he  was,  for  whatever  Dr.  Franklin  may 
have  said  a half  century  ago  about  the  question- 
asking  propensity  of  his  countrymen,  I never  noticed 


134  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

so  much  of  that  kind  of  traveling  curiosity  in  New 
England  as  in  Britain.  To  the  round-about  inquiries 
to  find  out  his  calling  or  profession,  Stuart  answered 
with  a grave  face  and  serious  tone, 

“ 1 I sometimes  dress  gentlemen’s  and  ladies’  hair’ 
(at  that  time,  the  high  craped,  pomatumed  hair  was 
all  the  fashion). 

“ You  are  a hair-dresser,  then  ?’ 

“ ‘ What,’  said  he,  1 do  I look  like  a barber  ?’ 

“ c I beg  your  pardon,  sir,  but  I inferred  it  from 
what  you  said.  If  I mistook  you,  I may  take  the 
liberty  to  ask  you  what  you  are  then  ?’ 

“ 1 Why,  I sometimes  brush  a gentleman’s  coat  or 
hat,  and  sometimes  adjust  a cravat.’ 

“ c 0,  you  are  a valet,  then,  to  some  nobleman  ?’ 
u 1 A valet ! Indeed,  sir,  I am  not.  I am  not  a 
servant.  To  be  sure,  I make  coats  and  waistcoats  for 
gentlemen.’ 

“ 1 0,  you  are  a tailor  ?’ 

“ 1 A tailor  ! Do  I look  like  a tailor  ? I assure 
you,  I never  handled  a goose,  other  than  a roasted 
one.’ 

By  this  time  they  were  all  in  a roar. 

“ i What  are  you,  then  ?’  said  one. 

“ 1 I’ll  tell  you,’  said  Stuart.  ‘ Be  assured,  all  I 
have  told  you  is  literally  true.  I dress  hair,  brush 
hats  and  coats,  adjust  a cravat,  and  make  coats,  waist- 
coats, and  breeches,  and  likewise  boots  and  shoes,  at 
your  service.’ 

“ ‘ 0,  ho  ! a boot  and  shoemaker  after  all !’ 


SCULPTORS,  AND  ARCHITECTS.  135 

“ Guess  again,  gentlemen.  I never  handled  boot 
or  shoe,  but  for  my  own  feet  and  legs ; yet  all  I told 
you  is  true.’ 

a £ We  may  as  well  give  up  guessing. 

“ { Well  then,  I will  tell  you,  upon  my  honor  as  a 
gentleman,  my  bona  fide  profession.  I get  my  bread 
by  making  faces.’ 

He  then  screwed  his  countenance,  and  twisted  the 
lineaments  of  his  visage  in  a manner  such  as  Samuel 
Foote  or  Charles  Matthews  might  have  envied.  His 
companions,  after  loud  peals  of  laughter,  each  took 
credit  to  himself  for  having  suspected  that  the  gentle- 
man belonged  to  the  theatre,  and  they  all  knew  he 
must  be  a comedian  by  profession,  when,  to  their  utter 
astonishment,  he  assured  them  he  was  never  on  the 
stage,  and  very  rarely  saw  the  inside  of  a playhouse, 
or  any  similar  place  of  amusement.  They  all  now 
looked  at  each  other  in  utter  amazement.  Before 
parting,  Stuart  said  to  his  companions,— 

“ ‘ Gentlemen,  you  will  find  that  all  I have  said 
of  various  employments  is  comprised  in  these  few 
words  : I am  a portrait  painter  ! If  you  will  call 
at  John  Palmer’s,  York  Buildings,  London,  I shall 
be  ready  and  willing  to  brush  you  a coat  or  hat,  dress 
your  hair  a la  mode , supply  yTou,  if  in  need,  with  a 
wig  of  any  fashion  or  dimensions,  accommodate  you 
with  boots  or  shoes,  give  you  ruffles  or  cravat,  and 
make  faces  for  you.’  ” 


136  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

STUART’S  SUCCESS  IN  EUROPE. 

Stanley,  in  his  edition  of  Bryan’s  Dictionary  of 
Painters  and  Engravers,  says,  “ He  rose  into  eminence, 
and  his  claims  were  acknowledged,  even  in  the  life 
time  of  Sir  Joshua  Reynolds.  His  high  reputation 
as  a portrait  painter,  as  well  in  Ireland  as  in  Eng- 
land, introduced  him  to  a large  acquaintance  among 
the  higher  circles  of  society,  and  he  was  in  the  road 
of  realizing  a large  fortune,  had  he  not  returned  'to 
America.” 

STUART  IN  IRELAND. 

“ The  Duke  of  Rutland,”  says  Dunlap,  who  had 
the  story  from  the  artist  himself,  “ invited  Stuart  to 
his  house  in  Dublin.  Stuart  got  money'  enough 
together  somehow  to  pay  his  passage  to  Ireland ; 
but  when  he  got  there,  he  found  that  the  duke  had 
died  the  day  before.  If  any  body  else  had  gone 
there,  the  duke  would  have  been  just  as  sure  to 
live,  for  something  extraordinary  must  happen  to 
Stuart,  of  course.  He  soon  got  into  the  debtors’ 
prison  again ; but  he  was  a star  still.  He  would 
not  let  people  give  him  money.  Rich  people  and 
nobles  would  be  painted  by  him,  and  they  had  to  go 
to  jail  to  find  the* painter.  There  he  held  his  court; 
flashing  equipages  of  lords  and  ladies  came  dashing 
up  to  prison,  while  their  exquisite  proprietors  waited 
for  their  first  sitting.  He  began  the  pictures  of  a 
great  many  nobles  and  men  of  wealth  and  fashion, 
received  half  price  at  the  first  sitting,  and  left  their 


SCULPTORS,  AND  ARCHITECTS.  137 

Irish  lordships  imprisoned  in  effigy.  Having  thus 
liberated  himself , and ’there  being  no  law  that  would 
justify  the  jailor  in  holding  half-finished  peers  in 
prison,  the  painter  fulfilled  his  engagements,  more  at 
his  ease,  in  his  own  house,  and  in  the  bosom  of  his 
own  family ; and  it  is  propable  the  Irish  gentlemen 
laughed  heartily  at  the  trick,  and  willingly  paid  the 
remainder  of  the  price.” 

STUART’S  RETURN  TO  AMERICA. 

Miss  Stuart,  the  daughter  of  the  painter,  says, 
“he  arrived  in  Dublin  in  1788,  and  notwithstanding 
the  loss  of  his  friendly  inviter,  he  met  with  great  suc- 
cess, painted  most  of  the  nobility,  and  lived  in  a 
good  deal  of  splendor.  The  love  of  his  own  coun- 
try, his  admiration  of  General  Washington,  and  the 
very  great  desire  he  had  to  paint  his  portrait,  was 
the  only  inducement  to  turn  his  back  on  his  good 
fortunes  in  Europe.”  Accordingly,  in  1793,  he  em- 
barked for  New  York,  where  he  took  up  his  abode 
for  some  months,  and  painted  the  portraits  of  Sir 
John  Temple,  John  Jay,  Gen.  Clarkson,  John  R. 
Murray,  Colonel  Giles,  and  other  persons  of  dis- 
tinction. 

STUART  AND  WASHINGTON. 

In  1794,  Stuart  proceeded  to  Philadelphia,  for  the 
purpose  of  painting  a portrait  of  Washington,  who 
received  him  courteously.  He  used  to  say  that 
when  he  entered  the  room  where  Washington  was, 
he  felt  embarrassed,  and  that  it  was  the  first  time 


/ 


138  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

in  his  life  he  had  ever  felt  awed  in  the  presence  of  a 
fellow  man.  Washington  was  then  standing  on  the 
highest  eminence  of  earthly  glory,  and  the  gaze  of  th<? 
world  was  steadily  fixed  upon  the  man,  whom  Botta 
terms  “ the  Father  of  Freedom.”  To  leave  to  pos- 
terity a faithful  portrait  of  the  Father  of  his  country, 
had  become  the  most  earnest  wish  of  Stuart’s  life. 
This  he  accomplished,  but  not  at  the  first  time ; he 
was  not  satisfied  with  the  expression,  and  destroyed 
the  picture.  The  President  sat  again,  and  he  produced 
that  head  which  embodies  not  only  the  features  but 
the  soul  of  Washington,  from  which  he  painted  all  his 
other  portraits  of  that  great  man.  This  picture  is  now 
in  the  Boston  Atheneum. 

STUART5 S LAST  PICTURE. 

After  the  removal  of  Congress  to  Washington, 
Stuart  followed,  and  resided  there  till  1806,  when  he 
went  to  Boston,  and  passed  there  the  rest  of  his 
days.  He  painted  a great  many  portraits,  which 
are  scattered  all  over  the  country.  The  last  work 
he  ever  painted  was  a head  of  the  elder  John  Quin- 
cy Adams.  He  began  it  a full-length ; but  he  was 
an  old  man,  and  only  lived  to  complete  the  head, 
which  is  considered  one  of  his  best  likenesses,  and 
shows  that  the  powers  of  his  mind  and  the  magic 
of  his  pencil  continued  brilliant  to  the  last.  The 
picture  was  finished  by  that  eminent  and  highly 
gifted  artist,  Thomas  Sully,  who  would  not  touch 
the  head,  as  he  said,  “ he  would  have  thought  it  little 


SCULPTORS,  AND  ARCHITECTS.  139 

less  than  sacrilege.”  He  died  in  1828,  in  the  seventy 
fifth  year  of  his  age. 

STUART’S  REPUTATION. 

As  a painter  of  heads,  Stuart  stands  almost  un- 
rivalled in  any  age  or  country ; beyond  this  he  made 
no  pretentions,  and  indeed  bestowed  very  little  care 
or  labor.  He  used  to  express  his  contempt  for  fine 
finishing  of  the  extremities,  or  rich  and  elegant  acces- 
sories, which  he  used  to  say  was  “ work  for  girls.” 
Whether  these  were  his  real  sentiments,  or  affectation, 
it  is  difficult  to  determine.  He  was,  however,  totally 
deficient  in  that  academic  education  which  is  necessary 
to  success  in  the  highest  branch  of  the  art — historical 
painting.  He  had  genius  enough  to  have  distinguished 
himself  in  any  branch,  but  he  could  not,  or  would  not, 
brook  the  necessary  toil. 

STUART’S  DRAWING 

Stuart  never  had  patience  to  undergo  the  drudgery 
necessary  to  become  a skillful  draughtsman.  His  kind 
instructor,  Mr.  West,  urged  upon  him  its  importance 
and  necessity,  and  advised  him  to  frequent  the  Royal 
Academy  for  this  purpose,  which  he  neglected  to  do. 
Trumbull  relates  that  Fuseli,  on  being  shown  some  of 
his  drawings,  observed  in  his  usual  sarcastic  manner, 
“young  man,  if  this  is  the  best  you  can  do,  you  had 
better  go  and  make  shoes.” 


1 40  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 
STUART  A PUNSTER. 

Stuart  was  an  inveterate  punster.  Mr.-  Allston, 
calling  on  him  a short  time  before  his  death,  asked 
him  how  he  was.  “Ah !”  said  he,  drawing  up  his 
pantaloons,  and  showing  his  emaciated  leg,  which  in 
his  youth  had  been  his  pride,  “you  can  judge  how 
much  I am  out  of  drawing .” 

STUART  BORN  IN  A SNUFF-MILL* 

Stuart  was  an  inordinate  snuff-taker.  He  used 
to  jocosely  apologise  for  the  habit,  by  saying  that 
“ he  was  born  in  a snuff-mill,”  which  was  literally 
true,  for  his  father  was  a manufacturer  of  snuff. 
He  said  a pinch  of  snuff  has  a wonderful  effect 
upon  a man’s  spirits.”  An  old  sea  captain  once 
observed  to  him,  “ you  see,  sir,  I have  always  a nos- 
tril in  reserve.  When  the  right  becomes  callous  after 
a few  weeks’  usage,  I apply  for  comfort  to  the  left, 
which  having  had  time  to  regain  its  sense  of  feeling, 
enjoys  the  blackguard  till  the  right  comes  to  its 
senses.”  “Thank  you,”  said  Stuart,  “it’s  a great 
discovery.  Strange  that  I should  not  have  made  it 
myself,  when  I have  been  voyaging  all  my  life  in  these 
channels.” 


STUART’S  NOSE. 

Stuart  always  maintained  that  a likeness  depend- 
ed more  on  the  nose , than  any  other  feature,  and  in 
proof  of  his  theory,  he  would  put  his  thumb  under 
his  own  large  and  flexible  proboscis,  and  turning  it 


SCULPTORS,  AND  ARCHITECTS.  141 

up,  exclaim,  “ who  would  know  my  portrait  with 
such  a norse  as  this  ?”  Therefore  he  is  said  to  have 
generally  painted  a likeness,  before  putting  in  the 
eyes.  On  one  occasion,  a pert  young  coxcomb; 
who  was  sitting  for  his  portrait,  stole  a glance  at 
the  canvas  and  exclaimed,  “ why,  it  has  no  eyes  !” 
Stuart  coolly  observed,  “ It  is  not  nine  days  old  yet,” 
referring  of  course  to  the  time  when  a puppy  first 
opens  its  eyes. 

STUART’S  SITTERS. 

A portrait  was  once  returned  to  Stuart  with  the 
grievous  complaint,  that  the  muslin  of  the  cravat 
was  too  coarsely  executed.  Stuart  indignantly  ob- 
served to  a friend,  “ I am  determined  to  glue  a 
piece  of  muslin  of  the  finest  texture  on  the  part  that 
* offends  their  exquisite  judgment,  and  send  it  back 
again.”  A lady  once  sat  to  him  dressed  in  the  ex- 
treme of  fashion,  loaded  with  jewelry  and  gewgaws, 
besides  an  abundance  of  hair  powder  and  rouge. 
Stuart,  being  hard  up  for  cash,  consented  to  raise  a 
monument  to  her  folly.”  After  the  picture  was  com- 
pleted, he  observed  to  a friend,  “ There  is  what  I have 
all  my  life  been  endeavoring  to  avoid, — vanity  and  bad 
taste.” 

A gentleman  of  note  employed  Stuart  to  paint 
his  own  portrait  and  that  of  his  wife,  who,  when  he 
married  her,  was  a very  rich  widow,  but  a very  or- 
dinary looking  person.  The  husband  was  hand- 
some, and  of  a noble  figure,  and  the  painter  hit  him 


142.  ANECDOTES  OF  PAINTERS,  ENGRAVERS 

off,  to  admiration.  Not  so  with  the  lady;  he  flat 
tered  her  as  much  as  he  could  without  destroying 
the  likeness,  but  the  husband  was  not  satisfied,  ex- 
pressed his  dissatisfaction  in  polite  terms,  and  re- 
quested him  to  try  again.  He  did  so,  without  any 
better  success.  The  husband  now  began  to  fret, 
when  the  painter  losing  his  patience,  jumped  up,  laid 
down  his  palette,  took  a huge  pinch  of  snuff,  and 
stalking  rapidly  up  and  down  the  room,  exclaimed, 

“ What  a d d business  is  this  of  a portrait  painter 

— zounds,  you  bring  a potato  and  expect  him  to  paint 
you  a peach.” 


STUART’S  MARK. 

Stuart,  it  is  said,  never  signed  but  one  picture  in 
his  life,  and  that  was  his  own  portrait,  before  men- 
tioned, on  which  he  wrote  Gilbert  Charles  Stuart . 
Dr.  Waterhouse  says,  “ his  parents  named  him  after 
his  father,  and  Charles  the  Pretender,  but  Stuart  soon 
dropt  the  Charles,  as  he  was  a staunch  republican. 
When  asked  why  he  did  not  sign  his  pictures,  he  re- 
plied, u I mark  them  all  over.” 

STUART  AND  HIS  DOG-. 

In  the  early  part  of  Stuart’s  career  as  a portrait 
painter  in  London,  he  had  for  his  attendant  a wild 
boy,  the  son  of  a poor  widow,  who  spent  half  his 
time  in  frolicking  with  a fine  Newfoundland  dog  be- 
longing to  his  master.  The  boy  and  dog  were  in- 
separable companions,  and  when  Tom  went  on  an 


SCULPTORS,  AND  ARCHITECTS.  143 

errand,  Towzer  must  accompany  him.  Tom  was  a 
terrible  truant,  and  played  so  many  tricks  upon 
Stuart,  that  he  again  and  again  threatened  to  dis- 
charge him.  One  day,  out  of  all  patience  at  his 
long  absence,  he  posted  off  to  his  mother,  in  a rage, 
to  dismiss  him.  The  old  woman,  perceiving  a tem- 
pest, began  first , and  told  a pitiful  story,  how  his 
dog  had  upset  her  mutton  pie,  broke  the  dish,  greased 
the  floor,  and  devoured  the  meat.  “ I am  glad  of 
it ; you  encourage  the  rascal  to  come  here,  and  here 
I will  send  him.”  An  idea  struck  Stuart,  and  he 
consented  to  keep  Tom,  on  condition  that  she  kept 
his  visit  a profound  secret.  When  the  boy  re- 
turned, he  found  his  master  at  his  easel,  and  being 
roundly  lectured,  he  told  a story  that  had  no  rela- 
tion to  his  mother,  Towzer,  or  the  pie.  “ Very 

well,”  said  the  painter,  “ bring  in  dinner,  I shall 
know  all  about  it  by-and-by.”  Stuart  sat  down 
to  his  dinner,  and  Towzer  took  his  accustomed 

place  by  his  side,  while  Tom  stood  in  attendance. 
“Well,  Towzer,  your  mouth  don’t  water  for  your 
share ; where  have  you  been  ?”  and  he  put  his 

ear  to  the  dog’s  mouth,  “I  thought  so,  with  Tom’s 
mother,  ha!”  “Bow-wow.”  “And  you  have  had 
your  dinner?”  “ Bow.”  “ I thought  so  ; what  have 
you  been  eating  ? Put  your  mouth  nearer,  sir. 
Mutton-pie ; very  pretty.  So  you  and  Tom  have 
eaten  Mrs.  Jenkins’  mutton-pie,  have  you?”  “ Bow- 
wow.” “ He  lies,  sir,”  exclaimed  Tom,  in  amaze- 
ment, “ I didn’t  touch  it ; he  broke  mother’s  dish, 


144  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

and  eat  all  the  mutton. !”  From  that  time,  Tom 
concluded  that  the  devil  must  be  in  the  dog  or  the 
painter,  and  that  he  had  no  chance  for  successful 
lying. 

THE  TEMPLE  OF  DIANA  AT  EPHESUS. 

This  famous  temple,  according  to  Yitruvius,  was 
designed  and  commenced  by  Ctesiphon,  a Cretan 
architect  of  great  eminence.  It  was  two  hundred 
years  in  building,  and  was  accounted  one  of  the 
seven  wonders  of  the  world.  The  gods  having  de- 
signated the  spot,  according  to  tradition,  every  nation 
of  Asia  Minor  contributed  to  its  completion,  with  the 
most  fervent  zeal.  It  was  ornamented  with  one  hun- 
dred and  twenty-seven  columns  of  Parian  marble,  of 
the  Ionic  order,  sixty  feet  high,  thirty-seven  of  which 
were  the  gifts  of  as  many  kings,  and  were  exquisitely 
wrought.  This  great  temple  was  finished  by  Deme- 
trius and  Paonius  of  Ephesus.  It  was  afterwards 
burned  by  Erostratus,  in  order  to  immortalize  his 
name.  It  was  subsequently  rebuilt,  but  was  finally 
destroyed  totally  by  the  barbarians,  in  the  third  or 
fourth  century. 

THE  DYING  GLADIATOR. 

The  most  famous  work  of  Ctesilas  was  the  Dying 
Gladiator,  which  has  received  the  highest  commen- 
dations from  both  ancient  and  modern  writers.  It 
was  long  preserved  at  Rome,  in  the  Chigi  palace, 
but  was  taken  to  Paris  with  the  Laocoon  and  other 


SCULPTORS,  AND  ARCHITECTS.  145 

antiques  in  1796.  These  works  were  restored  by  the 
allies,  in  1815.  Ctesilas  flourished  about  B.  C.  432, 
was  a cotemporary  of  Phidias,  and  with  him  and 
others  competed  for  the  prize  offered  for  six  statues 
for  the  temple  of  Diana  at  Ephesus  ; the  first  was 
awarded  to  Polycletus,  the  second  to  Phidias,  and  the 
third  to  Ctesilas.  He  also  distinguished  himself  by 
a number  of  other  works,  among  which  were  a stafue 
of  Pericles,  and  a Wdunded  Amazon. 

FABIUS  MAXIMUS. 

It  was  not  until  the  second  Punic  war  that  the 
Romans  acquired  a taste  for  the  arts  and  elegancies 
of  life;  for  though  in  the  first  war  with  Carthage, 
they  had  conquered  Sicily  (which  in  the  old  Roman 
geography  made  a part  of  Greece),  and 'were  mas- 
ters of  several  cities  in  the  eastern  part  of  Italy, 
(which  were  inhabited  by  Grecian  colonies,,  and 
adorned  with  pictures  and  statues  in  which  the 
Greeks  excelled  all  the  world,)  they  had  hitherto  look- 
ed on  them  with  so  careless  an  eye,  that  they  were  not 
touched  with  their  beauty.  This  insensibility  long 
remained,  either  from  the  grossness  of  their  minds, 
or  from  superstition,  or  (what  is  more  likely)  from  a 
political  dread  that  their  martial  spirit  and  natural 
roughness  might  be  destroyed  by  Grecian  art  and 
elegance.  When  Eabius  Maximus,  in  the  second 
Punic  war,  captured  Tarentum,  he  found  it  full  of 
riches,  and  adorned  with  pictures  and  statues,  par- 
ticularly with  some  fine  colossal  figures  of  the  gods 


146  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

fighting  against  the  rebel  giants  : Fabius  ordered, 

that  the  money  and  plate  should  be  sent  to  Rome, 
but  that  the  statues  and  pictures  should  be  left  behind. 
The  Secretary,  struck  with  the  size  and  noble  air  of 
the  statues,  asked  whether  they  too  were  to  be  left 
with  the  rest  ? “ Yes,”  replied  he,  “ leave  their 

angry  gods  to  the  Tarentines ; we  will  have  nothing  to 
do  with  them.” 

LOVE  OF  THE  ARTS  AMONG  THE  ROMANS. 

We  may  judge  to  what  extent  the  love  of  the 
arts  prevailed  in  Rome,  by  a speech  of  Cato  the 
Censor,  in  the  Senate,  about  seventeen  years  after 
the  taking  of  Syracuse.  In  vain  did  Cato  exclaim 
against  the  pernicious  taste,  and  its  demoralizing 
effects ; the  Roman  generals,  in  their  several  con- 
quests, seem  to  have  striven  who  should  bring 
away  the  most  statues  and  pictures  to  adorn  their 
triumphs  and  the  city  of  Rome.  Flaminius  from 
Greece,  and  more  particularly  iEmilius  from  Mace- 
donia, brought  a very  great  number  of  vases  and 
statues.  Not  many  years  after,  Scipio  Africanus 
destroyed  Carthage,  and  transferred  to  Rome  the 
chief  ornaments  of  that  city.  The  same  year, 
Mummius  sacked  Corinth,  one  of  the  principal  re- 
positories of  the  finest  works  of  art.  Having  but 
little  taste  himself,  he  took  the  surest  method  not  to 
be  mistaken,  for  he  carried  off  all  that  came  in  his 
way,  and  in  such  quantities,  that  he  alone  is  said  to 
have  filled  Rome  with  with  pictures  and  statues.  Sylla, 


SCULPTORS,  AND  ARCHITECTS.  147 

besides  many  others,  made  vast  additions  to  them 
afterwards,  by  the  taking  of  Athens,  and  by  his  con- 
quests in  Asia. 

COMPARATIVE  MERITS  OP  THE  VENUS  DE  MEDICI  AND 
THE  CELESTIAL  VENUS. 

The  Venus  de  Medici  is  placed  in  the  tribune  of  the 
Florentine  gallery,  between  two  other  Yenuses,  the 
Celestial  and  the  Victorious.  “ If  you  observe  them 
well,”  says  Spence,  “ you  will  find  as  much  difference 
between  her  air,  and  that  of  the  celestial  Yenus,  as 
there  is  between  Titian’s  wife  as  a Yenus,  and  as  a 
Madonna,  in  the  same  room.” 

THE  EFFECT  OF  PAINTING  ON  THE  MIND. 

The  effects  of  the  pencil  are  sometimes  wonder- 
ful. It  is  said  that  Alexander  trembled  and  grew 
pale  on  seeing  a picture  of  Palamedes  betrayed  to 
death  by  his  friends.  It  doubtless  brought  to  his 
mind  a stinging  remembrance  of  his  treatment  of 
Aristonicus. 

Portia  could  bear  with  an  unshaken  constancy 
her  last  separation  from  Brutus ; but  when  she  saw, 
a few  hours  after,  a picture  of  the  Parting  of  Hec- 
tor and  Andromache,  she  burst  into  a flood  of  tears. 
Full  as  seemed  her  cup  of  sorrow,  the  painter  sug- 
gested new  ideas  of  grief,  or  impressed  more  strongly 
her  own. 

An  Athenian  courtezan,  in  the  midst  of  a riotous 
banquet  with  her  lovers,  accidentally  cast  her  eye 


148  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

on  the  portrait  of  a philosopher  that  hung  opposite  to 
her  seat  ; the  happy  character  of  temperance  and 
virtue  struck  her  with  so  lively  an  image  of  her  own 
.unworthiness,  that  she  instantly  quitted  the  room,  and 
retiring  home,  became  ever  after  an  example  of  tem- 
perance, as  she  had  before  been  of  debauchery. 

PAUSIAS. 

Pausias,  an  eminent  Greek  painter,  was  a native  of 
Sicyon,  and  flourished  about  B.  C.  450.  His  most 
famous  picture  was  one  representing  the  Sacrifice  of 
an  Ox,  which,  according  to  Pliny,  decorated  the  Hall 
of  Pompey  in  his  time.  Pausanias  mentions  two  of 
his  paintings  at  Epidaurus — the  one  a Cupid  with  a 
lyre  in  his  hand ; and  the  other  a figure  of  Methe,  or 
Drunkenness,  drinking  out  of  a glass  vessel,  through 
which  his  face  is  seen.  These  pictures  were  held  in 
the  highest  estimation  by  the  Sicyonians,  but  they 
■were  compelled  to  give  them  up  to  M.  Scaurus,  who 
took  them  to  Borne. 

THE  GARLAND  TWINER. 

Pausias  fell  in  love  with  a beautiful  damsel,  a na- 
tive of  his  own  city,  called  Glycera,  who  gained  a 
livelihood  by  making  garlands  of  flowers,  and 
wreaths  of  roses.  Her  skill  in  this  art  induced 
Pausias,  in  a loving  rivalry,  to  attempt  to  compete 
with  her,  and  he  ultimately  became  an  inimitable 
flower  painter.  A portrait  of  Glycera  with  a gar- 


SCULPTORS,  AND  ARCHITECTS.  . 149 

land  of  flowers,  called  Stephanopolis,  or  the  Garland 
Twiner,  was  reckoned  his  masterpiece.  So  great  was 
the  fame  of  it,  that  Lucius  Lucullus  gave  for  a copy, 
at  Athens,  two  talents,  or  about  two  thousand  dol- 
lars. 

PROTOGENES,  THE  GREAT  RHODIAN  PAINTER. 

The  most  famous  of  his  works  was  the  picture  of 
Ialysus  and  his  Log,  which  occupied  him  seven  years. 
The  dog,  represented  as  panting  and  foaming  at  the 
mouth,  was  greatly  admired ; and  it  is  related  that 
Protogenes  was  for  a long  time  unable  to  represent 
the  foam  in  the  manner  he  wished,  till  at  length  he 
threw  his  sponge  in  a fury  at  the  mouth,  and  produced 
the  very  effect  he  desired  ! The  fame  of  this  painting 
was  so  great,  that,  according  to  Pliny,  Demetrius 
Poliorcetes,  when  besieging  Rhodes,  did  not  assault 
that  part  of  the  city  where  Protogenes  lived,  lest  he 
should  destroy  the  picture.  His  studio  was  situated 
without  the  walls,  where,  to  the  astonishment  of  the 
besiegers,  he  continued  to  paint  with  perfect  tranquil- 
lity. This  coming  to  the  ears  of  Demetrius,  he  or- 
dered the  artist  to  be  brought  to  his  tent,  and  de- 
manded how  he  could  persist  in  the  quiet  exercise  of 
his  profession,  when  surrounded  by  enemies  ? Proto- 
genes replied  that  he  did  not  consider  himself  in  any 
danger,  convinced  that  a great  prince  like  Demetrius 
did  not  make  war  against  the  Arts,  but  against  the 
Rhodians. 


150  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 
PARRHASIUS. 

This  great  painter  was  a native  of  Ephesus,  but  be- 
came a citizen  of  Athens,  where  he  flourished  about  B. 
C.  390.  He  raised  the  art  to  a much  higher  degree 
of  perfection  than  it  had  before  attained.  Comparing 
his  three  great  predecessors  with  each  other,  he  reject- 
ed their  errors,  and  adopted  their  excellencies.  The 
classic  invention  of  Polygnotus,  the  magic  tones  of 
Apollodorus,  and  the  exquisite  design  of  Zeuxis,  are 
said  to  have  been  united  in  the  works  of  Parrhasius. 
He  reduced  to  theory  the  practice  of  former  artists, 
and  all  cotemporary  and  subsequent  painters  adopted 
his  standard  of  heroic  and  divine  proportions;  hence 
he  was  called  the  Legislator  of  painting. 

THE  DEMOS  AND  OTHER  WORKS  OF  PARRHASIUS 

One  of  the-  most  celebrated  works  of  Parrhasius 
was  his  Demos,  or  an  allegorical  picture  of  the 
Athenians.  Pliny  says  that  “ it  represented  and  ex- 
pressed equally  all  the  good  as  well  as  the  bad  quali- 
ties of  the  Athenians  at  the  same  time ; one  might 
trace  the  changeable,  the  irritable,  the  kind,  the  un- 
just, the  forgiving,  the  vain-glorious,  the  proud,  the 
humble,  the  fierce,  the  timid.”  There  -has  been  con- 
siderable dispute  among  critics  whether  this  pic- 
ture was  a composition  of  one  or  several  figures. 
Supposing  it  to  have  been  a single  figure,  Pliny’s 
description  is  absurd  and  ridiculous,  for  it  is  impos- 
sible to  represent  all  the  passions  in  a single  figure, 


SCULPTORS,  AND  ARCHITECTS.  151 

It  does  not  seem,  however,  that  Parrhasius  usually 
introduced  many  figures  into  his  compositions. 
Pliny  mentions  as  among  his  principal  works,  a The- 
seus ; a Telephus ; an  Achilles ; an  Agamemnon  ; 
an  iEneas ; two  famous  pictures  of  Hoplites,  or 
heavily  armed  warriors,  one  in  action,  the  other  in 
repose ; a Naval  Commander  in  his  armor ; Ulysses 
feigning  insanity ; Castor  and  Pollux ; Bacchus  and 
Virtue  ; a Cretan  nurse  with  an  Infant  in  her  arms  ; 
and  many  others,  apparently  composed  of  one,  two,  or 
at  most  three  figures. 

Parrhasius  was  equally  celebrated  for  his  small,  or 
cabinet  pictures  of  libidinous  subjects ; hence  he 
was  called  the  P or  nograph.  His  famous  picture  of 
Arehigallus,  the  priest  of  Cybele,  mentioned  by 
Pliny,  is  supposed  to  have  been  of  this  description. 
Also  the  Meleager  and  Atalanta  mentioned  by  Sue- 
tonius. This  picture  was  bequeathed  to  Tiberius,  on 
the  condition  that  if  he  were  offended  with  the  subject, 
he  should  receive  in  its  stead  one  million  sesterces 
(about  forty  thousand  dollars).  The  Emperor  not 
only  preferred  the  picture,  but  had  it  hung  up 
in  his  own  chamber,  where  the  Arehigallus,  val- 
ued at  six  hundred  thousand  sesterces,  was  also  pre- 
served. 

PARRHASIUS  AND  THE  OLYNTHIAN  CAPTIVE. 

Seneca  relates  that  Parrhasius,  when  about  to 
paint  a picture  of  Prometheus  Chained,  crucified  an 


152  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

old  Olynthian  captive,  to  serve  as  a model,  that  he 
might  be  able  to  portray  correctly  the  agonies  of  Pro- 
metheus while  the  Vulture  preyed  upon  his  vitals. 
This  story  is  doubtless  a fiction,  as  it  is  found  nowhere 
but  in  the  Controversies.  Olynthus  was  taken  by 
Philip  of  Macedon,  B.  C.  347,  about  forty  years  sub- 
sequent to  the  latest  accounts  of  Parrhasius. 

THE  VANITY  OF  PARRHASIUS. 

This  great  artist  was  well  aware  of  his  powers, 
but  the  applause  which  he  received,  added  to  a nat- 
urally vain  and  conceited  disposition,  so  completely 
carried  him  away,  that  Pliny  terms  him  “ the  most 
insolent  and  the  most  arrogant  of  artists.”  He  as- 
sumed the  title  of  The  Elegant , styled  himself  the 
Prince  of  Painters , wrote  an  epigram  upon  him- 
self, in  which  he  proclaimed  his  birth,  and  declared 
that  he  had  carried  the  art  to  perfection.  He 

clothed  himself  in  purple,  and  wore  a wreath  of 
gold  on  his  head ; and  when  he  appeared  on  public 
occasions,  particularly  at  the  Olympic  games,  he 

changed  his  robes  several  times  a day  ! He  went 

so  far  as  to  pretend  that  he  was  descended  from 

Appollo,  one  of  whose  surnames  was  Parrhasius , 
and  even  to  dedicate  his  own  portrait  as  Mercury 
in  a temple,  and  thus  received  the  adoration  of  the 
multitude. 

THE  INVENTION  OF  THE  CORINTHIAN  CAPITAL. 

About  B.  C.  550,  there  died  at  Corinth  a mar- 
riageable virgin;  and  her  nurse,  according  to  the 


SCULPTORS,  AND  ARCHITECTS.  153 

custom  of  the  times,  placed  on  her  tomb  a basket 
containing  those  viands  most  agreeable  to  her  when 
alive,  covering  them  with  a tile,  for  better  preserva- 
tion. This  basket  was  unintentionally  placed  over 
the  root  of  an  acanthus,  the  spring  leaves  and  stems 
of  which  growing  up,  covered  it  in  so  elegant  a 
manner  as  to  attract  the  notice  of  Callimachus,  who 
struck  with  the  idea  and  novelty  of  the  figure,  mod- 
elled from  it  the  Corinthian  capital,  thus  giving  a re- 
markable proof  of  the  intimate  connection  between 
Art,  and  Nature — the  source  of  all  true  art — and 
producing  that  exquisitely  graceful  design  which  for 
twenty -four  centuries  has  charmed  the  civilized 
world. 

THE  INVENTION  OF  SCULPTURE. 

Pliny  relates  a pleasing  and  highly  poetic  anec- 
dote of  the  invention  of  sculpture.  Dibutades,  the 
fair  daughter  of  a celebrated  potter  of  Sicyon,  con- 
trived a private  meeting  with  her  lover,  on  the  eve 
of  a long  separation.  After  a repetition  of  vows 
of  constancy,  and  a stay  prolonged  to  a very  late 
hour,  the  youth  fell  fast  asleep.  The  fair  nymph, 
whose  imagination  was  on  the  alert,  observing 
that  her  admirer’s  profile  was  strongly  reflected 
on  the  wall  by  the  light  of  a lamp,  eagerly 
snatched  up  a piece  of  charcoal,  and,  inspired  by 
love,  traced  the  outline,  that  she  might  have  the 
image  of  her  lover  before  her  during  his  absence. 
Her  father,  when  he  chanced  to  see  the  sketch, 


154  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

struck  with  its  correctness,  determined  to  preserve 
it,  if  possible,  as  a memento  of  such  a remarkable 
circumstance.  With  this  view  he  formed  a kind  of 
clay  model  from  it,  and  baked  it;  which,  being  the 
first  essay  of  the  kind,  was  preserved  in  the  public 
repository  of  Corinth,  even  to  the  fatal  day  of  its 
destruction  by  that  enemy  to  the  arts'  Mummius 
Achaicus. 

PRAXITELES. 

Praxiteles,  one  of  the  most  eminent  Grecian 
sculptors,  was  cotemporary  with  Euphranor,  and 
flourished,  according  to  Pliny,  in  the  one  hundred  and 
fourth  Olympiad,  or  B.  C.  360.  The  place  of  his 
birth  is  not  mentioned.  He  lived  in  the  period  imme- 
diately subsequent  to  the  age  of  Phidias,  but  his 
genius  took  a different  course  from  that  style  of 
elevation  and  sublimity  which  distinguishes  the 
iEschylus  of  Sculpture.  Praxiteles  was  the  founder 
of  a new  school.  His  style  was  eminently  distin- 
guished for  softness,  delicacy,  and  high  finish  ; and 
he  was  fond  of  representing  whatsoever  in  nature  ap- 
peared gentle,  tender,  and  lovely.  Consequently  his 
favorite  subjects  were  the  soft  and  delicate  forms  of 
females  and  children,  rather  than  the  hard  ones  of 
athletes,  warriors,  and  heroes. 

PRAXITELES  AND  PHIDIAS  COMPARED. 

The  peculiar  abilities  of  Praxiteles  were  admira- 
bly displayed  in  the  Yenus  of  Cnidus,  which,  with 


SCULPTORS.  AND  ARCHITECTS 


155 


the  exception  of  the  Olympian  Jupiter  of  Phidias, 
has  received  higher  and  more  unqualified  elogiums 
from  ancient  writers,  than  any  other  work  of  Grecian 
art.  These  too  great  artists  may  therefore  be  con- 
sidered as  standing  at  the  head  of  their  respectiv 
schools ; Praxiteles,  of  the  delicate  and  beautiful — 
Phidias,  of  the  grand  and  sublime. 

THE  WORKS  OF  PRAXITELES. 

Praxiteles  was  eminent  for  his  works,  both  in 
bronze  and  marble,  but  he  seems  to  have  had  the 
highest  reputation  for  his  skill  in  the  latter.  Among 
those  in  bronze,  Pliny  and  Pausanias  mention  a sta- 
tue of  Bacchus  ; and  one  of  a Satyr  so  excellent,  that 
it  was  called  Periboetos , or  the  Celebrated.  He  also 
made  a statue  of  Yenus ; a statue  of  a Matron  weep- 
ing ; and  one  of  a Courtesan  laughing,  believed  to  be 
a portrait,  of  the  celebrated  Thespian  courtesan, 
Phryne.  His  Apollo  Sauroctonos  (or  the  Lizard 
Killer),  was  the  finest  of  his  works  in  bronze,  and  was- 
greatly  distinguished  for  purity  of  style,  and  graceful 
beauty  of  form.  In  the  Vatican,  there  is  a well-au- 
thenticated marble  copy  of  this  work,  which  is  justly 
considered  one  of  the  greatest  treasures  of  that  store- 
house of  art.  Among  the  works  in  marble  by  Prax- 
iteles, the  famous  Yenus  of  Cnidus  takes  the  preemi- 
nence. 

THE  VENUS  OF  CNIDUS. 

Praxiteles  executed  two  statues  of  Yenus — the 
one  draped,  and  the  other  naked.  The  people  of 


156  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

Coos  chose  the  former,  as  the  most  delicate;  but 
the  Cnidians  immediately  purchased  the  latter.  This 
work  is  mentioned  by  Lucian  as  the  masterpiece  of 
Praxiteles ; and  it  is  also  the  subject  of  numerous 
epigrams  in  the  Greek  Anthology.  Its  fame  was  so 
great  that  travelers  visited  Cnidus  on  purpose  to  see 
it.  The  original  work  was  destroyed  at  Constanti- 
nople, in  the  fifth  century,  in  the  dreadful  fire  which 
consumed  so  many  of  the  admirable  monuments  of 
art,  collected  in  that  city. 

PRAXITELES  AND  PHRYNE. 

Pausanias  relates  that  the  beautiful  Phryne,  whose 
influence  over  Praxiteles  seems  to  have  been  consider- 
able, was  anxious  to  possess  a work  from  his  chisel, 
and  when  desired  to  choose  for  herself,  not  knowing 
which  of  his  exquisit-e  works  to  select,  she  devised  the 
following  expedient.  She  commanded  a .servant  to 
hasten  to  him,  and  tell  him  that  his  work-shop  was  in 
flames,  and  that  with  few  exceptions,  his  works  had 
already  perished.  Praxiteles,  not  doubting  the  truth 
of  the  announcement,  rushed  out  in  the  greatest 
anxiety  and  alarm,  exclaiming,  u all  is  lost,  if  my 
Satyr  and  Cupid  are  not  saved !”  The  object  of 
Phryne  being  accomplished,  she  confessed  her  strata- 
gem, and  chose  the  Cupid. 

Pliny  mentions  two  figures  of  Cupids  as  among 
the  finest  works  of  Praxiteles,  one  of  which  he  ranks 
on  an  equality  with  the  Yenus  of  Cnidus.  It  was 
made  of  Parian  marble.  There  is  an  exquisite  an- 


SCULPTORS,  AND  ARCHITECTS 


157 


tique  Cupid  in  the  Vatican,  supposed  to  be  a copy  of 
the  Cupid  of  Phryne. 

THE  KING  OF  BITHYNIA  AND  THE  VENUS  OF  CNIDUS. 

According  to  Lucian,  Nicomedes,  King  of  Bithyn- 
ia,  was  so  captivated  with  the  Venus  of  Cnidus,  that 
he  offered  to  pay  a debt  of  the  city,  amounting  to  one 
hundred  talents,  (about  one  hundred  thousand  dollars) 
on  condition  of  their  giving  up  to  him  this  celebrated 
statue ; but  the  citizens,  to  their  honor,  refused  to  part 
with  it  on  any  terms,  regarding  it  as  the  principal 
glory  of  their  state. 

PHIDIAS. 

Phidias,  the  most  renowned  sculptor  of  antiquity, 
was  born  about  B.  C.  490.  Quintillia'n  calls  him  “ the 
Sculptor  of  the  Gods,”  and  others,  “ the  iEschy- 
lus  of  Sculpture,”  from  the  character  of  grandeur 
and  sublimity  in  his  works.  The  times  in  which  he 
lived  were  peculiarly  favorable  to  the  development 
of  his  genius.  He  was  employed  upon  great  pub- 
lic works  during  the  administration  of  Cimon,  and 
subsequently,  when  Pericles  attained  the  height  of 
his  power,  Phidias  seems  to  have  been  consulted 
in  regard  to  the  conduct  of  all  the  works  in  sculpture, 
as  well  as  architecture.  Plutarch  says,  “ It  was 
Phidias  who  had  the  direction  of  these  works,  al- 
though great  architects  and  skilllul  sculptors  were 
employed  in  erecting  them.”  Among  the  most  re- 
markable objects  upon  which  his  talents  were 


158  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

exercised,  the  Parthenon,  or  Temple  of  Minerva, 
claims  preeminence.  It  was  built  by  Callicrates 
and  Ictinus,  under  the  superintendence  of  Phidias. 
Within  the  temple,  Phidias  executed  his  celebrated 
statue,  in  gold  and  ivory,  of  Minerva,  represented 
standing  erect,  holding  in  one  hand  a spear,  and  in 
the  other  a statue  of  Victory.  The  helmet  was 
highly  decorated,  and  surmounted  by  a sphinx ; the 
naked  parts  were  of  ivory;  the  eyes  of  precious 
stones ; and  the  drapery  throughout  was  of  gold. 
It  is  said  there  were  forty  talents  weight  of  this 
metal^  used  in  the  statue.  The  people,  being  desi- 
rous of  having  all  the  glory  of  the  work,  prohibited 
Phidias  from  inscribing  his  name  upon  it;  but  he 
contrived  to  introduce  his  own  portrait  as  an  old 
bald-headed  man  throwing  a stone,  in  the  represen- 
tation of  the  combat  between  the  Athenians  and 
Amazons,  which  decorated  the  shield.  A likeness 
of  Pericles  was  also  introduced  in  the  same  com- 
position. The  exterior  of  the  Parthenon  was  en- 
riched with  admirable  sculptures,  many  of  which 
were  from  the  hand  of  Phidias,  and  all  of  them  ex- 
ecuted under  his  direction.  A portion  of  these, 
termed  the  Elgin  marbles,  from  their  having  been 
taken  to  England  by  the  Earl  of  Elgin,  are  now  in 
the  British  Museum.  They  have  been  highly 
commended  by  most  excellent  judges ; and  the  emi- 
nent sculptor  Canova,  after  visiting  London  declared 
that  “ he  should  have  been  well  repaid  for  his  journey 


SCULPTORS,  AND  ARCHITECTS.  159 

to  England  had  he  seen  nothing  hut  the  Elgin 
marbles.” 

PHIDIAS  AND  ALCAMENES. 

The  comprehensive  character  of  the  genius  of 
this  preeminent  sculptor,  is  well  attested  by  his  con- 
test with  Alcamenes.  It  was  designed  to  place  a 
statue  of  Minerva  on  a column  of  great  height  in 
the  city  of  Athens ; and  both  these  artists  were  em- 
ployed to  produce  images  for  the  purpose,  which 
were  to  be  chosen  by  the  citizens.  When  the  stat- 
ues were  completd,  the  universal  preference  was 
given  to  the  work  of  Alcamenes,  which  appeared 
elegantly  finished,  while  that  of  Phidias  appeared 
rude  and  sketchy,  with  coarse  and  ill-proportioned 
features.  However,  at  the  request  of  Phidias,  the 
statues  were  successively  exhibited  on  the  elevation 
for  which  they  were  intended,  when  all  the  minute 
beauties  of  his  rival’s  work  completely  disappeared, 
together  with  the  seeming  defects  of  his  own;  and 
the  latter,  though  previously  despised,  seemed  perfect 
in  its  proportions,  and  was  surveyed  with  wonder  and 
delight. 

INGRATITUDE  OF  THE  ATHENIANS. 

The  enemies  of  Pericles,  with  the  view  of  impli- 
cating that  statesman,  accused  Phidias  of  having 
misapplied  part  of  the  gold  entrusted  to  him  for  the 
statue  of  Minerva,  and  desired  that  he  should  be 
brought  to  trial.  The  sculptor,  however,  by  the 


160  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

prudent  advice  of  Pericles,  had  executed  the  work  in 
such  a manner  that  the  gold  might  easily  be  removed, 
and  it  was  ordered  by  Pericles  to  be  carefully  weighed 
before  the  people.  As  might  have  been  expected,  this 
test  was  not  required,  and  the  malicious  accusation 
was  withdrawn.  They  then  declared  the  sculptor 
guilty  of  sacrilege  in  placing  his  own  portrait  upon 
the  shield  of  Minerva  ; and  some  writers  state  that 
he  was  thrown  into  prison  ; others,  that  he  was  ban- 
ished. 

THE  JUPITER  OF  PHIDIAS. 

Phidias  fled  from  Athens  to  Elis,  where  he  was  em- 
ployed to  execute  a costly  statue  of  the  Olympian  Ju- 
piter, for  the  temple  in  Altis.  This  statue  was  the 
most  renowned  of  all  the  works  of  Phidias.  It  was  of 
prodigious  colossal  dimensions,  being  sixty  feet  in 
height,  though  seated  on  a throne;  the  head  was 
crowned  with  olive  ; the  right  hand  held  a small  statue 
of  Victory,  in  gold  and  ivory  ; the  left  hand  grasped 
a golden  sceptre  of  exquisite  workmanship,  surmount- 
ed by  an  eagle ; the  sandals  and  mantle  were  also  of 
the  same  material,  the  latter  sculptured  with  every  de- 
scription of  flowers  and  animals;  the  pedestal  was 
also  of  gold,  ornamented  with  a number  of  deities 
in  bas-relief.  In  the  front  of  the  throne  was  a re- 
presentation of  the  Sphynx  carrying  off*  the  Theban 
youths ; beneath  these,  the  Fate  of  Niobe  and  her 
Children : and,  on  the  pedestal  joining  the  feet, 
the  Contest  of  Hercules  with  the  Amazons,  embra- 


SCULPTORS,  AND  ARCHITECTS. 


161 


cing  twenty-nine  figures,  among  which  was  one  intend- 
ed to  represent  Theseus.  On  the  hinder  feet  of  the 
throne  were  four  Victories,  as  treading  in  the  dance. 
On  the  hack  of  the  throne,  above  the  head  of  the  god, 
were  figures  of  the / Hours  and  Graces;  on  the  seat, 
Theseus  warring  with  the  Amazons,  and  Lions  of  gold. 
Its  base,  which  was  of  gold,  represented  various  groups 
of  Divinities,  among  which  were  Jupiter  and  Juno, 
with  the  Graces  leading  on  Mercury  and  Vesta; 
Cupid  receiving  Venus  from  the  Sea;  Apollo  with 
Diana;  Minerva  with  Hercules;  and,  below  these, 
Neptune,  and  the  Moon  in  her  Chariot.  On  the  base 
of  the  statue,  was  the  inscription,  Phidias , the  son  of 
Charmidas , made  me.  Quintillian  observes  that  this 
unparalleled  work  even  added  new  feelings  to  the  re- 
ligion of  Greece.  It  was  without  a rival  in  ancient 
times,  all  writers  speaking  of  it  as  a production  that 
none  would  even  dare  to  imitate.  There  is  a tradi- 
tion connected  with  this  celebrated  work.  Phidias, 
after  the  completion  of  his  work,  is  said  to  have 
prayed  Jupiter  to  favor  him  with  some  intimation  of 
his  approbation,  whereupon  a flash  of  lightning  darted 
into  the  temple,  and  struck  the  pavement  before  him. 
This  was  hailed  as  a proof  of  divine  favor,  and  a 
brazen  urn  or  vase  was  placed  upon  the  spot,  which 
Pausanias  mentions  as  existing  in  his  time. 

PHIDIAS’  MODEL  FOR  THE  OLYMPIAN  JUPITER. 

Phidias,  being  asked  how  he  could  conceive  that 
air  of  divinity  which  he  had  expressed  in  the  face 


162  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

of  the  Olympian  Jupiter,  replied  that  he  had  copied 
it  from  Homer’s  celebrated  description  of  him.  All 
the  personal  strokes  in  that  description  relate  to  the 
hair,  the  eye-brows,  and  the  beard  : and  indeed  to 
these  it  is  that  the  best  heads  of  Jupiter  owe  most  of 
their  dignity  ; for  though  we  have  now  a mean  opinion 
of  beards,  yet  all  over  the  east  a full  beard  carries  the 
idea  of  majesty  along  with  it ; and  the  Grecians  had 
a share  of  this  Oriental  notion,  as  may  be  seen  in 
their  busts  of  Jupiter,  and  the  heads  of  kings  on 
Greek  medals.  But  the  Bomans,  though  they  es- 
teemed beards  even  as  far  down  as  the  sacking  of 
Home  by  the  Goths,  held  them  in  contempt  in  their 
better  ages,  and  spoke  disrespectfully  of  their  bearded 
forefathers.  They  were  worn  only  by  poor  philoso- 
phers, and  by  those  who  were  under  disgrace  or  mis- 
fortune. For  this  reason  Yirgil,  in  copying  Homer’s 
striking  description  of  Jupiter,  has  omitted  all  the 
picturesque  strokes  on  the  beard,  hair,  and  eye-brows ; 
for  which  Macrobius  censures  him,  and  Scaliger  ex- 
tols him.  The  matter  might  have  been  compounded 
between  them,  by  allowing  that  Yirgil’s  description 
was  the  most  proper  for  the  Bomans,  and  Homer’s 
the  noblest  among  Greeks. 

APOLLODORUS  THE  ATHENIAN. 

Apollodorus,  one  of  the  most  famous  of  the  an- 
cient Greek  painters,  was  born  at  Athens  B.  C.  440. 
Pliny  commences  his  history  of  Greek  painting  with 


SCULrTORS,  AND  ARCHITECTS.  1 Go 

this  artist,  terming  him  u the  first  luminary  of  the 
art.”  He  also  says  of  him,  u I may  well  and  truly 
say  that  none  before  him  brought  the  pencil  into  a 
glorious  name  and  especial  credit.”  The  two  most 
famous  works  of  Apollodorus,  were,  a Priest  in  the 
act  of  Devotion,  and  Ajax  Oileus  Wrecked,  both  re- 
markable, not  only  in  coloring  and  chiaro-scuro,  but 
in  invention  and  composition.  These  paintings  were 
preserved  at  Pergamos  in  the  time  of  Pliny,  six  hun- 
dred years  after  they  were  executed.  Apollodorus 
was  the  first  who  attained  the  perfect  imitation  of  the 
effects  of  light  and  shadow  invariably  seen  in  nature. 
If  we  may  depend  upon  the  criticisms  of  ancient 
writers,  the  works  of  this  master  were  not  inferior  in 
this  respect  to  those  of  the  most  distinguished  mod- 
erns. His  pictures  riveted  the  eye,  not  merely  from 
their  general  coloring,  but  also  from  a powerful  and 
peculiar  effect  of  light  and  shade,  on  which  account 
he  was  called  “ the  Shadower.” 

APOLLODORUS  THE  ARCHITECT. 

This  great  architect,  who  flourished  about  A.  D. 
100,  was  born  at  Damascus.  By  his  great  genius 
he  acquired  the  favor  of  the  emperor  Trajan,  for 
whom  he  executed  many  works.  He  built  the 
great  Square  of  Trajan,  to  effect  which,  he  leveled  a 
hill,  one  hundred  and  forty-foui^eet  high  ; in  the  cen- 
tre he  raised  the  famous  column,  of  the  same  height 
as  the  hill  that  had  been  removed,  which  commem- 


164  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

orated  the  victories  of  Trajan,  and  served  as  a monu- 
ment to  that  victorious  Emperor.  Around  the 
Square,  he  erected  the  most  beautiful  assemblage  of 
buildings  then  known  in  the  world,  among  which  was 
the  triumphal  arch  commemorative  of  Trajan’s  vic- 
tories. The  marble  pavements  of  this  Square  are 
fifteen  feet  below  the  streets  of  modern  Rome.  Apol- 
lodorus  also  erected  a college,  a theatre  appropriated 
to  music,  the  Basilica  Nepia,  a celebrated  library,  the 
Baths  of  Trajan,  aqueducts,  and  other  important 
works  at  Rome.  His  most  famous  work  was  a stone 
bridge  over  the  Danube,  in  Lower  Hungary,  near 
Zeverino.  It  was  one  mile  and  a half  long,  three  hun- 
dred feet  high,  forty  feet  wide,  and  was  built  upon 
twenty  piers^tnd  twenty-two  arches.  Its  extremities 
were  defended  by  two  fortresses.  Trajan  had  it  con- 
structed to  facilitate  the  passage  of  his  troops,  but  his 
successor  dismantled  it,  fearing  that  the  barbarians 
would  use  it  against  the  Romans. 

TRAJAN’S  COLUMN. 

This  column  is  one  of  the  most  celebrated  monu- 
ments of  antiquity.  Its  height,  including  the  pedes- 
tal and  statue,  is  one  hundred  and  forty-four  Eng- 
lish feet.  It  was  erected  in  the  centre  of  the  forum 
of  Trajan,  and  was  dedicated  to  that  emperor  by  the 
senate  and  people  of  Rome  in  commemoration  of 
his  decisive  victory  over  the  Dacians.  It  is  of  the 
Doric  order,  and  its  shaft  is  constructed  of  thirty- 
four  pieces  of  Greek  marble,  hollowed  out  in  the 


SCULPTORS,  AND  ARCHITECTS. 


1G5 


centre  for  the  stairs,  and  joined  together  with  cramps 
of  bronze.  For  elegance  of  proportion,  beauty  of 
style,  and  for  simplicity  and  dexterity  of  sculpture,  it 
is  accounted  the  finest  column  in  the  world.  The 
sculptures  on  the  pedestal  are  master-pieces  of  Roman 
art.  The  shaft  is  embellished  with  bassi-rilievi,  repre- 
senting the  expedition  of  Trajan  against  the  Dacians, 
which  run  spirally,  twenty-three  times  around  the 
column,  and  which  gradually  increase  in  size,  so  that 
those  at  the  top  appear  to  the  spectator,  to  be  of  the 
same  size  as  those  at  the  bottom.  A spiral  stair-case, 
of  one  hundred  and  eighty-five  steps,  runs  up  the  in- 
terior, and  receives  light  from  sixty-three  openings  in 
the  shaft.  A gold  medal,  struck  in  commemoration  of 
the  completion  of  the  column,  shows  that  it  was  for- 
merly surmounted  by  a statue  of  Trajan,  holding  in 
one  hand  a sceptre,  and  in  the  other  a globe,  in  which 
were  deposited  the  ashes  of  that  prince.  Pope  Sixtus 
Y.  placed  a statue  of  St.  Peter,  by  the  Cavaliere 
Fontana,  in  the  place  of  that  of  Trajan,  which  had 
been  destroyed  some  centuries  before.  A greater  ab- 
surdity than  placing  the  statue  of  a peaceful  apostle 
over  the  sculptured  representation  of  the  Dacian  war, 
can  scarcely  be  conceived. 

THE  DEATH  OE  APOLLODOKUS. 

Apollodorus  fell  a victim  to  the  envy  of  Adrian, 
the  successor  of  Trajan,  who  himself  dabbled  in  ar- 
chitecture, as  well  as  the  other  arts.  According  to 


166  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

Pliny,  lie  ridiculed  the  proportions  of  the  temple  of 
Rome  and  Yenus,  which  had  been  built  from  Adrian’s 
designs,  saying  that  “ if  the  goddesses  who  were  placed 
in  it  should  be  disposed  to  stand  up,  they  would  be  in 
danger  of  breaking  their  heads  against  the  roof,  or  if 
they  should  wish  to  go  out,  they  could  not,”  which  so 
incensed  the  Emperor,  that  he  banished  the  architect, 
and  had  him  put  to  death.  Another  account  says,  that 
as  Trajan  was  conversing  about  some  of  the  buildings, 
Adrian,  who  was  present,  made  some  impertinent  re- 
marks, on  which  the  architect  said,  “ Go  and  paint 
pumpkins,  for  you  know  nothing  about  these  matters,” 
an  affront  which  Adrian  never  forgot,  and  avenged  by 
the  death  of  the  architect  when  he  became  Emperor. 
What  a return  to  the  architect  of  Trajan’s  Column  ! 

HOGARTH. 

The  talents  of  this  eccentric  genius  were  preemi- 
nent in  burlesque  and  satire.  He  therefore  chiefly 
devoted  himself  to  delineate  the  calamities  and 
crimes  of  private  life,  and  the  vices  and  follies  of  the 
age.  He  portrayed  vice  as  leading  to  disgrace  and 
misery,  while  he  represented  virtue  as  conducting  to 
happiness  and  honor.  His  series  of  the  u Harlot’s 
Progress,”  the  “ Rake’s  Progress,”  “ Marriage 
a la  Mode,”  gained  him  great  reputation  : and  the 
prints  which  he  engraved  and  published  from  them, 
although  rude  specimens  of  the  art,  met  with  an 
enormous  sale,  greatly  to  his  own  emolument.  Lord 


SCULPTORS,  AND  ARCHITECTS.  167 

Orford  characterizes  him  as  a painter  of  comedy.  “ If 
catching  the  manners  and  follies  of  the  age,  ‘ living  as 
they  rise;’  if  general  satire  on  vices  and  ridicules, 
familiarized  by  strokes  of  nature,  and  heightened  by 
wit,  and  the  whole  animated  by  just  and  proper  ex- 
pressions of  the  persons,  be  comedy,  Hogarth  com- 
posed comedy  as  much  as  Moliere.”  Others  have 
better  characterized  him  as  a great  moral  preacher. 
Alderman  Boydell  was  accustomed  to  say  that  every 
merchant,  shopkeeper,  mechanic,  and  others  who  had 
youth  in  their  employment,  ought  to  have  some  of 
Hogarth’s  prints  framed  and  hung  up  for  their  admo- 
nition. 

HOGARTH’S  APPRENTICESHIP. 

Hogarth  was  apprenticed,  at  an  early  age,  to  an  en- 
graver of  arms  on  plate.  While  thus  engaged,  his  in- 
clination for  painting  was  manifested  in  a remarkable 
manner.  Going  out  one  day  with  some  companions 
on  an  excursion  to  Highgate,  the  weather  being  very 
hot,  they  entered  a public  house,  where  before  long  a 
quarrel  occurred.  One  of  the  disputants  struck  the 
other  on  the  head  with  a quart  pot,  which  cut  him  se- 
verely ; and  the  blood  running  down  the  man’s  face, 
gave  him  a singular  appearance,  which,  with  the  con- 
tortions of  his  countenance,  presented  Hogarth  with 
a laughable  subject.  Taking  out  his  pencil,  he 
sketched  the  scene  in  such  a truthful  and  ludicrous 
manner,  that  order  and  good  feeling  were  at  once  re- 
stored. 


T 68  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 
HOGARTH’S  REVENGE. 

Hogarth  in  his  early  career,  was  once  greatly  dis- 
tressed to  raise  the  paltry  sum  of  twenty  shillings,  to 
satisfy  his  landlady,  who  endeavored  to  enforce  pay- 
ment. To  be  revenged  on  her,  he  painted  her  an  ugly 
i nd  malicious  hag,  her  features  so  truthfully  drawn, 
that  every  person  who  had  seen  her  at  once  recognized 
the  individual.  Woe  betided  the  man  who  incurred 
his  ire  ; he  crucified  him  without  mercy.  In  his  con- 
troversy with  Wilkes,  he  caricatured  him  in  his  print 
of  “ The  Times;”  and  Churchill,  the  poet,  he  repre- 
sented as  a canonical  bear,  with  a ragged  staff,  and  a 
pot  of  porter. 

HOGARTH’S  METHOD  OF  SKETCHING. 

It  was  Hogarth’s  custom  to  sketch  on  the  spot  any 
remarkable 'face  that  struck  him.  A gentleman  being 
once  with  him  at  the  Bedford  Coffee  House,  observing 
him  to  draw  something  on  his  thumb  nail,  inquired 
what  he  was  doing,  when  he  was  shown  the  likeness  of 
a comical  looking  person  sitting  in  the  company. 

HOGARTH’S  MARRIAGE. 

Hogarth  married  the  only  daughter  of  Sir  James 
Thornhill,  who  was  dissatisfied  with  the  match. 
Soon  after  this  period,  he  began  his  Harlot’s  Pro- 
gress, and  was  advised  by  Lady  Thornhill  to  place 
some  of  the  prints  in  the  way  of  his  father-in-law. 
Accordingly,  early  one  morning,  Mrs.  Hogarth  con 


SCULPTORS,  AND  ARCHITECTS.  169 

veyed  several  of  them  into  the  dining  room,  when  Sir 
J ames  inquired  whence  they  came  ? Being  told,  he 
said,  “Very  well,  very  well;  the  man  who  can  pro- 
duce representations  like  these,  can  also  maintain  a 
wife  without  a portion.”  He  soon  after  became  both 
reconciled  and  generous  to  the  young  couple. 

The  “ Harlot’s  Progress”  was  the  first  work  which 
rendered  the  genius  of  Hogarth  conspicuously  known. 
About  twelve  hundred  names  were  entered  in  his 
subscription  book.  It  was  dramatized,  and  repre- 
sented on  the  stage.  Fans  were  likewise  embellished 
with  miniature  representations  of  all  the  six  plate-s. 

SUCCESSFUL  EXPEDIENT  OF  HOGARTH. 

A nobleman,  not  remarkable  for  personal  beauty, 
once  sat  to  Hogarth  for  his  portrait,  whifch  the  artist 
executed  in  his  happiest  manner,  but  with  rigid  fidel- 
ity. The  peer,  disgusted  at  this  exact  counterpart  of 
his  dear  self,  did  not  feel  disposed  to  pay  for  the  pic- 
ture. After  some  time  had  elapsed,  and  numerous 
unsuccessful  attempts  had  been  made  to  obtain  pay- 
ment, the  painter  resorted  to  an  expedient  which  he 
knew  must  alarm  the  nobleman’s  pride.  He  sent  him 
the  following  card  : — 

“ Mr.  Plogarth’s  dutiful  respects  to  Lord . 

Finding  he  does  not  mean  to  have  the  picture 

drawn  for  him,  Lord is  informed  again  of  Mr. 

Hogarth’s  pressing  necessity  for  money.  If,  there- 


170  ANECDOTES  OF  PAINTERS,  ENGRAVERS 

fore,  his  Lordship  does  not  send  for  it  in  three  days, 
it  will  be  disposed  of,  with  the  addition  of  a tail  and 
some  other  appendages,  to  Mr.  Pau,  the  famous  wild 
beast  man  ; Mr.  H.  having  given  that  gentleman  a 
conditional  promise  of  it  for  an  exhibition  picture,  on 
his  Lordship’s  refusal.”  This  intimation  had  the  de- 
sired effect ; the  picture  was  paid  for,  and  committed 
to  the  flames. 

HOGARTH’S  PICTURE  OE  THE  RED  SEA. 

Hogarth  was  once  applied  to,  by  a certain  nobleman, 
to  paint  on  his  staircase  a representation  of  the  De- 
struction of  Pharaoh’s  host  in  the  Led  Sea.  In  at- 
tempting to  fix  upon  the  price,  Hogarth  became  dis- 
gusted with  the  miserly  conduct  of  his  patron,  who 
was  unwilling  to  give  more  than  half  the  real  value 
of  the  picture.  At  last,  out  of  all  patience,  he  agreed 
to  his  terms.  In  two  or  three  days  the  picture  was 
ready.  The  nobleman,  surprised  at  such  expedition, 
immediately  called  to  examine  it,  and  found  the  space 
painted  all  over  red. 

“ Zounds  !”  said  the  purchaser,  “ what  have  you 
here?  I ordered  a scene  of  the  Red  Sea.” 

“ The  Red  Sea  you  have,”  said  the  painter. 

“ But  where  are  the  Israelites  ?’ 
u They  are  all  gone  over.” 

“ And  where  are  the  Egyptians  ?” 

“ They  are  all  drowned.” 

The  miser’s  confusion  could  only  be  equalled  by  the 
haste  with  which  he  paid  his  bill.  The  biter  was  bit. 


SCULPTORS,  AND  ARCHITECTS.  171 

HOGARTH’S  COURTESY. 

Hogarth  treated  those  who  sat  for  their  portraits 
with  a courtesy  which  is  not  always  practiced,  even 
now,  in  England.  u When  I sat  to  Hogarth,”  says 
Mr.  Cole,  “ the  custom  of  giving  vails  to  servants 
was  not  discontinued.  On  taking  leave  of  the  painter 
at  the  door,  I offered  his  servant  a small  gratuity ; 
but  the  man  politely  refused  it,  telling  me  it  would 
be  as  much  as  the  loss  of  his  place  if  his  master  knew 
it.  This  was  so  uncommon  and  so  liberal  in  a man 
of  Hogarth’s  profession,  at  that  time,  that  it  much 
struck  me,  as  nothing  of  the  kind  had  happened  to  me 
before.”  .Nor  is  it  likely  that  such  a thing  would  hap- 
pen again  : Sir  Joshua  Reynolds  gave  his  servant  six 
pounds  annually  as  wages,  and  offered  him  one  hun- 
dred pounds  a year  for  the  door. 

HOGARTH’S  ABSENCE  OF  MIND. 

Hogarth  was  one  of  the  most  absent  minded  of 
men.  Soon  after  he  set  up  his  carriage,  he  had  occa- 
sion to  pay  a visit  to  the  Lord  Mayor.  When  he  went, 
the  weather  was  fine ; but  he  was  detained  by  busi- 
ness till  a violent  shower  of  rain  came  on.  Being 
let  out  of  the  mansion  house  by  a different  door 
from  the  one  which  he  had  entered,  he  immedi- 
ately began  to  call  for  a hackney  coach.  Not  being 
able  to  procure  one,  he  braved  the  storm,  and  actually 
reached  his  house  in  Leicester  Fields,  without 
bestowing  a thought  on  his  carriage,  till  his  wife 


172  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

astonished  to  see  him  so  wet,  asked  him  where  he 
had  left  it. 

HOGARTH’S  MARCH  TO  FINCHLEY. 

Hogarth  disposed  of  this  celebrated  picture  by  lot- 
tery. There  were  eighteen  hundred  and  forty- three 
chances  subscribed  for  ; he  gave  the  remaining  one 
hundred  and  sixty-seven  tickets  to  the  Foundling 
Hospital,  and  the  same  night  delivered  the  picture  to 
the  governors. 

HOGARTH’S  UNFORTUNATE  DEDICATION  OF  A 
PICTURE. 

Hogarth  dedicated  his  picture  of  the  March  to 
Finchley  to  George  II.  The  following  dialogue  is  said 
to  have  ensued,  on  this  occasion,  between  the  sovereign 
and  the  nobleman  in  waiting  : 

“ Pray,  who  is  this  Hogarth 
“ A painter,  my  liege.” 

“ I hate  painting,  and  poetry  too ; neither  the  one 
nor  the  other  ever  did  any  good.” 

“ The  picture,  please  your  majesty,  must  undoubt- 
edly be  considered  as  a burlesque.” 

“ What ! burlesque  a soldier  ? He  deserves  to  be 
picketed  for  his  insolence.  Take  his  trumpery  out  of 
my  sight.” 

HOHARTH’S  METHOD  OF  SELLING  HIS  PICTURES.. 

Hogarth  supported  himself  by  the  sale  of  his 
prints : the  prices  of  his  pictures  kept  pace  neither 


SCULPTORS,  AND  ARCHITECTS.  173 

with  his  fame  nor  with  his  expectations.  He  knew, 
however,  the  passion  of  his  countrymen  for  novelty — 
how  they  love  to  encourage  whatever  is  strange  and 
mysterious ; and  hoping  to  profit  by  these  feelings, 
the  artist  determined  to  sell  his  principal  paintings  by 
an  auction  of  a very  singular  nature. 

On  the  25th  of  January,  1745,  he  offered  for  sale 
the  six  paintings  of  the  Harlot’s  Progress,  the  eight 
paintings  of  the  Rake’s  Progress,  The  Four  Times  of 
the  Hay,  and  the  Strolling  Actresses,  on  the  following 
conditions : 

“ 1.  Every  bidder  shall  have  an  entire  leaf  num- 
bered in  the  book  of  sale,  on  the  top  of  which  will  be 
entered  his  name  and  place  of  abode,  the  sum  paid  by 
him,  the  time  when,  and  for  what  picture. 

2.  That  on  the  day  of  sale,  a clock,  striking  every 
five  minutes,  shall  be  placed  in  the  room  ; and  when 
it  has  struck  five  minutes  after  twelve,  the  first  pic- 
ture mentioned  in  the  sale  book  shall  be  deemed  as 
sold  ; the  second  picture  when  the  clock  has  struck 
the  next  five  minutes  after  twelve ; and  so  on  in  suc- 
cession, till  the  whole  nineteen  pictures  are  sold. 

3.  That  none  advance  anything  short  of  gold  at 
each  bidding. 

4.  No  person  to  bid  on  the  last  day,  except  those 
whose  names  were  before  entered  on  the  book.  As 
Mr.  Hogarth’s  room  is  but  small,  he  begs  the  favor 
that  no  person,  except  those  whose  names  are  entered 
on  the  book,  will  come  to  view  his  paintings  on  the 
last  day  of  sale.” 


/ 


174  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

This  plan  was  new,  startling,  and  unproductive. 
It  was  probably  planned  to  prevent  biddings  by 
proxy,  and  so  secure  to  the  artist  the  price  which 
men  of  wealth  and  rank  might  be  induced  to  offer 
publicly  for  works  of  genius.  11  A method  so  novel, ” 
observes  Ireland,  “ probably  disgusted  the  town;  they 
might  not  exactly  understand  the  tedious  formula  of 
entering  their  names  and  places  of  abode  in  a book 
open  to  indiscriminate  inspection  ; they  might  wish 
to  humble  an  artist,  who,  by  his  proposals,  seemed  to 
consider  that  he  did  the  world  a favor  in  suffering 
them  to  bid  for  his  works  ; or  the' rage  for  paintings 
might  be  confined  to  the  admirers  of  the  old  mas- 
ters.” Be  that  as  it  may,  he  received  only  four 
hundred  and  twenty-seven  pounds  seven  shillings  for 
his  nineteen  pictures — a price  by  no  means  equal  to 
their  merit. 

The  prints  of  the  Harlot’s  Progress  had  sold 
much  better  than  those  of  the  Bake’s  ; yet  the  paint- 
ings of  the  former  produced  only  fourteen  guineas 
each,  while  those  of  the  latter  were  sold  for  twenty- 
two.  That  admirable  picture,  Morning,  brought 
twenty  guineas;  and  Night,  in  every  respect  infe- 
rior to  almost  any  of  his  works,  six  and  twenty. 
Such  was  the  reward,  then,  to  which  these  patrons 
of  genius  thought  his  works  entitled.  More  has 
since  been  given,  over  and  over  again,  for  a single 
painting,  than  Hogarth  obtained  for  all  his  paintings 
put  together. 


SCULPTORS,  AND  ARCHIT  ECTS. 


175 


HOGARTH’S  LAST  WORK. 

A short  time  before  Hogarth  was  seized  with 
the  malady  which  deprived  society  of  one  of  its 
brightest  ornaments,  he  proposed  to  his  matchless 
pencil  the  work  he  has  entitled  the  Tail  Piece.  The 
first  idea  of  this  picture  is  said  to  have  been  started 
in  company,  while  the  convivial  glass  was  circulat- 
ing round  his  own  table.  “ My  next  undertaking.” 
said  Hogarth,  “ shall  be  the  end  of  all  things .”  “ If 

this  is  the  case,”  replied  one  of  his  friends,  “your 
business  will  be  finished,  or  there  will  be  an  end  to 
the  painter.”  “ The  fact  will  be  so,”  answered  Ho- 
garth, sighing  heavily,  “ and  therefore  the  sooner  my 
work  is  done,  the  better.”  Accordingly  he  began 
the  next  day,  and  continued  his  design  with  a dili- 
gence that  seemed  to  indicate  an  apprehension  that  he 
should  not  live  to  complete  it.  This,  however,  he 
did,  and  in  the  most  ingenious  manner,  by  grouping 
everything  that  could  denote  the  end  of  all  things ; 
a broken  bottle ; an  old  broom  worn  to  the  stump  ; 
the  butt-end  of  an  old  musket ; a cracked  bell ; a 
bow  unstrung ; a crown  tumbled  to  pieces ; towers 
in  ruins;  the  sign-post  of  a tavern  called  the  World’s 
End  falling  down ; the  moon  in  her  wane;  the  map 
of  the  globe  burning;  a gibbet  falling,  the  body 
gone,  and  the  chains  which  held  it  dropping  down ; 
Phoebus  and  his  horses  lying  dead  in  the  clouds;  a 
vessel  wrecked ; Time,  with  his  hour  glass  and 
scythe  broken ; a tobacco-pipe,  with  the  last  whiff 
of  smoke  going  out;  a play-book  opened,  with  ex- 


176  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

eunt  omnes  stamped  in  the  corner ; an  empty  purse 
and  a statute  of  bankruptcy  taken  out  against  Na- 
ture. “ So  far  so  good,”  said  Hogarth,  on  review- 
ing his  performance;  “nothing  remains  but  this;” 
taking  his  pencil,  and  sketching  the  resemblance  of 
a painter’s  palette  broken.  “Finis!”  he  then  ex- 
claimed, “the  deed  is  done;  all  is  over.”  It  is  a 
very  remarkable  fact,  and  not  generally  known,  that 
Hogarth  never  again  took  the  palette  in  his  hand,  and 
that  he  died  in  about  a month  after  he  had  finished 
this  Tail  Piece. 

JACQUES  LOUIS  DAVID. 

This  great  painter  was  born  at  Paris  in  1750. 
His  countrymen  have  conferred  upon  him  the  dis- 
tinguished title  of  The  Head  and  Restorer  of  the 
French  School , which  he  brought  back  from  its  pre- 
vious gaudy  and  affected  stjde,  to  the  study  of  nature 
and  the  antique.  His  reputation  was  established  as 
the  first  painter  in  France  when  the  French  Revo- 
lution broke  out,  and  filled  with  an  ardent  love  of 
liberty,  he  lent  all  his  powers  in  overturning  the 
government,  and  establishing  the  Republic.  For 
this  purpose,  in  1789,  he  executed  his  Brutus  con- 
demning his  sons  to  death.  He  also  executed  the 
designs  for  the  numerous  republican  monuments 
and  festivals  of  the  time.  He  was  a chosen  a deputy 
to  the  National  Convention,  and  voted  for  the  king’s 
death.  During  the  Reign  of  Terror,  he  was  one 
of  the  most  zealous  Jacobins,  wholly  devoted  to 


f 


SCULPTORS,  AND  ARCHITECTS. 


177 


Robespierre;  and  on  the  fall  of  that  monster,  he  was 
thrown  into  prison,  and  his  great  reputation  as  a 
painter  alone  saved  him  from  the  guillotine.  At 
length,  disgusted  with  the  excesses  and  revolting 
scenes  transpiring  on  all  sides,  and  seeing  no  hopes 
of  the  Republic  being  established  on  a permanent 
basis,  he  retired  to  private  life,  and  devoted  him- 
self exclusively  to  his  pencil.  When  Napoleon  came 
into  power,  perceiving  the  advantage  of  employing 
such  a painter  as  David  to  immortalize  his  glorious 
victories  on  canvas,  he  appointed  him  his  chief 
painter,  showed  him  every  mark  of  his  favor,  and 
endeavored  to  engage  him  to  paint  the  successes  of 
the  French  armies.  But  these  subjects  were  not 
congenial  to  his  taste,  which  ran  to  the  antique. 
“ I wish,”  said  he,  “ that  my  works  may  have  so 
completely  an  antique  character,  that  if  it  were  pos- 
sible for  an  Athenian  to  return  to  life,  they  might 
appear  to  him  to  be  the  productions  of  a Greek 
painter.”  He  however  painted  several  portraits  of 
the  Emperor  and  the  members  of  the  Imperial 
family,  and  other  subjects,  the  chief  of  which  were, 
Napoleon  as  First  Consul  crossing  the  Alps,  and 
pointing  out  to  his  troops  the  path  to  glory,  and  the 
Coronation  of  Napoleon. 

On  the  restoration  of  the  Bourbons,  David  was  in- 
cluded in  the  decree  which  banished  all  the  regicides 
forever  from  France,  when  he  retired  to  Brussels, 
where  he  continued  to  practice  his  profession  till  his 
death  in  1825. 


178  ANECTOTES  OF  PAINTERS,  ENGRAVERS, 

DAVID’S  PICTURE  OF  THE  CORONATION  OF  NAPOLEON 

The  largest  picture  ever  known  to  have  been 
executed,  prior  to  this  production,  is  the  celebrated 
Marriage  at  Cana  by  Paul  Veronese,  now  at  the 
Louvre ; being  thirty- three  feet  long,  and  eighteen 
high ; whereas  the  present  composition,  containing 
two  hundred  and  ten  personages,  eighty  of  whom 
are  whole  lengths,  is  thirty-three  feet  long  and  twenty- 
one  high.  This  performance  occupied  four  years 
in  its  completion,  during  which  many  impediments 
were  thrown  in  the  way  of  the  artist’s  labor,  by  the 
clergy  on  the  one  hand,  and  the  orders  of  the  Empe- 
ror on  the  other.  Cardinal  Caprara,  for  instance, 
who  is  represented  bareheaded,  producing  one  of 
the  finest  heads  in  the  picture,  was  very  desirous  of 
being  painted  with  the  decoration  of  his  wig ; Napo- 
leon had  also  ordered  the  Turkish  ambassador  to  be 
exhibited  in  company  with  the  other  envoys ; but  he 
objected,-  because  the  law  of  the  Koran  forbids  to 
Mahometans  the  entrance  into  a Christian  church. 
His  consent,  however,  was  at  length  obtained,  and 
these  scruples  removed,  under  the  consideration  that, 
in  the  character  of  an  ambassador,  he  belonged  to  no 
religious  sect. 

During  the  execution  of  this  colossal  picture, 
M.  David  was  incessantly  interrupted  by  applica- 
tions from  artists  to  witness  the  progress  of  his  work ; 
amongst  whom  was  Camucini,  prince  of  the  Koman 
school,  and  the  late  famous  statuary  Canova,  who 
daily  presented  themselves  at  the  artist’s  painting 


SCULPTORS.  AND  ARCHITECTS. 


179 


gallery.  At  the  last  visit  made  by  Camucini,  he 
found  David  surrounded  by  many  of  his  pupils,  and 
on  taking  leave  of  the  painter,  he  bowed  to  him  in  the 
most  respectful  manner,  using  the  following  expre  - 
give  words  on  the  occasion  : 

“ Adio  il  piu  bravo  pittore  di  scholari  ben  bravi.” 

On  Canova’s  return  to  Italy,  in  order  to  fulfil  what 
he  conceived  to  be  a duty  in  regard  to  this  artist, 
he  proposed  to  the  Academy  of  Saint  Luke,  that  he 
should  be  received  as  an  honorary  member ; when  the 
academicians  set  aside  their  usual  forms,  and  in  honor 
of  M.  David,  unanimously  elected  him  one  of  their 
body,  Canova  being  chosen  to  announce  this  pleasing 
intelligence  to  their  new  associate. 

The  picture  was  completed  in  1807,  and  prior  to  its 
public  exposition  Napoleon  appointed  a day  to  inspect 
it  in  person,  which  was  the  fourth  of  January,  1808; 
upon  which  occasion,  in  order  to  confer  a greater  honor 
upon  the  artist,  he  went  in  state,  attended  by  a de- 
tachment of  horse  and  a military  band,  accompanied 
by  the  Empress  Josephine,  the  princes  and  princesses 
of  his  family,  and  followed  by  his  ministers  and  the 
great  officers  of  the  crown. 

Several  criticisms  had  been  previously  passed 
upon  the  composition,  which  had  gained  the  Em- 
peror’s ear,  and  in  particular,  that  it  was  not  the 
coronation  of  Napoleon,  but  of  his  consort;  the  mo- 
ment selected  by  the  painter,  however,  was  highly 
approved  by  his  master,  who,  after  an  attentive  ex- 


180  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

animation  of  the  work,  expressed  himself  in  these 
words  : 

“ M.  David,  this  is  well;  very  well,  indeed;  you 
have  conceived  my  whole  idea ; the  Empress,  my 
mother,  the  Emperor,  all,  are  most  appropriately 
placed,  you  have  made  me  a French  knight,  and 
I am  gratified  that  you  have  thus  transmitted  to 
future  ages,  the  proofs  of  affection  I was  desirous  of 
testifying  towards  the  Empress.”  After  a silence  of 
some  seconds,  Napoleon’s  hat  being  on,  and  Jose- 
phine standing  at  his  right  hand,  with  M.  David  on 
his  left,  the  emperor  advanced  two  steps,  and  turn- 
ing to  the  painter,  uncovered  himself,  making  a 
profound  obeisance  while  uttering  these  words  in 
an  elevated  tone  of  voice,  “ Monsieur  David , 1 
salute  you  /” 

“ Sire,”  replied  the  painter,  u I receive  the  com- 
pliment of  the  Emperor,  in  the  name  of  all  the  artists 
of  the  empire,  happy  in  being  the  individual  one  you 
deign  to  make  the  channel  of  such  an  honor.” 

In  the  month  of  October,  1808,  when  th^s  per- 
formance was  removed  to  the  Museum,  the  Emperor 
wished  to  inspect  it  a second  time.  M.  David 
in  consequence  attended  in  the  hall  of  the  Louvre, 
surrounded  by  his  pupils,  upon  which  occasion 
at  the  Emperor’s  desire,  he  pointed  out  the  most  con- 
spicuous elves , who  received  the  decorations  of  the 
Legion  of  Honor  : “ It  is  requisite,”  said  Napoleon, 
that  I should  testify  my  satisfaction  to  the  master  of 
so  many  distinguished  artists ; therefore,  I promote 


SCULPTORS,  AND  ARCHITECTS.  18  4 

you  to  be  an  officer  of  tbe  Legion  of  Honor : M. 
Duroc,  give  a golden  decoration  to  M.  David !” 
“ Sire,  I have  none  with  me,”  answered  the  grand 
marshal.  “No  matter,”  replied  the  Emperor,  “do 
not  let  this  day  transpire  without  executing  my  order.” 
Duroc,  although  no  friend  to  the  painter,  was  obliged 
to  obey,  and  on  the  same  evening  the  insignia  were 
forwarded  to  M.  David. 

The  King  of  Wurtemberg,  at  the  suggestion  of  the 
Emperor,  also  waited  upon  the  artist  to  inspect  his 
labor.  On  contemplating  the  performance,  and  in 
particular,  the  luminous  brightness  spread  over  the 
group  in  which  are  the  Pope  and  Cardinal  Caprara* 
his  majesty  thus  expressed  himself : “ I did  not  be- 
lieve that  your  art  would  affect  such  wonders ; white 
and  black  in  painting  afford  but  very  weak  resources. 
When  you  produced  this  you  had,  nodoubt,  a sun- 
beam upon  your  pencil.” 

This  compliment,  which  displayed  great  know- 
ledge of  the  art,  surprised  the  painter,  who,  after 
offering  his  thanks,  added : “ Sire,  your  conception, 
and  the  mode  in  which  you  express  it,  bespeak  either 
the  practical  artist  or  the  well  informed  amateur. 
Your  majesty  has  doubtless  learned  to  paint.” — 
“ Yes,”  said  the  king,  “ I sometimes  occupy  myself 
with  the  art,  and  all  my  brothers  possess  a similar 
taste ; that  one  in  particular,  who  frequently  visits 
you,  has  acquired  some  celebrity ; for  his  perform- 
ances are  not  like  the  generality  of  royal  paintings, 
they  are  worthy  of  the  artist.  M.  David,”  added 


182  ANECDOTES  ©F  PAINTERS,  ENGRAVERS, 

the  monarch,  “ I dare  not  hope  to  obtain  a copy  of 
this  picture ; but  you  may  indemnify  me  by  placing 
my  name  at  the  head  of  the  subscribers  to  the  en- 
graving; pray  do  not  forget  me.” 

The  personages  represented  in  this  picture  are  as 
follow:  the  Emperor;  the  Empress  Josephine;  the 
Pope;  Cambaceres,  Duke  of  Parma,  arch-chancel- 
lor ; the  Duke  of  Plaisance,  arch-treasurer ; Ma- 
reschal  Berthier,  Prince  of  Wagram;  M.  Talley- 
rand, Prince  of  Benevento,  grand  chamberlain  to 
the  emperor ; Prince  Eugene  Beauharnais,  vice- 
roy of  the  kingdom  of  Lombardy ; Caulaincourt, 
Duke  of  Yicenza,  grand  ecuyer ; Mareschal  Ber- 
nadotte,  Prince  of  Ponte  Corvo,  and  afterwards 
King  of  Sweden ; Cardinal  Pacca,  councillor  of 
the  Pope;  Cardinal  Fesch,  the  uncle  of  Napo- 
leon ; Cardinal  Caprara,  then  the  Pope’s  legate 
at  the  court  of  France ; the  Count  D’Harville, 
senator  and  governor  of  the  palace  of  the  Tuileries; 
E steve,  grand  treasurer  of  the  crown  ; Mareschal 
Prince  Murat,  afterwards  king  of  Naples  ; Mareschal 
Serrurier,  governor  of  the  royal  Hotel  of  Invalids ; 
Mareschal  Moncey,  Duke  of  Cornegliane,  inspector- 
general  of  the  gendarmerie ; Mareschal  Bessierre, 
Duke  of  Treviso,  general  of  the  imperial  guard ; 
Compte  Segur,  grand  master  of  the  Ceremonies ; the 
beautiful  and  heroic  Madame  Lavalette,  and  the 
Countess  of  La  Bochefoucault,  ladies  of  honor  to  the 
empress ; Cardinal  du  Belloy,  archbishop  of  Paris ; 
Maria  Annunciade  Carolina,  wife  of  Murat ; Maria 


y 


SCULPTORS,  AND  ARCHITECTS.  183 

Paulina,  wife  of  Prince  Borghese,  Duke  of  Guastalla  ; 
and  Maria  Anna  Elisa,  Duchess  of  Tuscany,  and 
Princess  of  Lucca  and  Piombino  ; — -the  three  sisters 
of  Napoleon ; Hortense  Eugenia  Beauharnais,  daughter 
of  Josephine,  and  wife  of  Louis  Napoleon,  King  of 
Holland,  together  with  her  son  Louis  Napoleon ; 
Maria  Julia  Clary,  wife  of  Joseph  Napoleon;  Junot, 
Duke  of  Abrantes,  colonel-general  of  hussars  ; Louis 
Napoleon,  grand  constable  ; Joseph  Napoleon,  grand 
electeur,  King  of  Spain,  afterwards  a citizen  of  the 
United  States ; Mareschal  Le  Eebvre,  Duke  of 
Dantzic ; Mareschal  Perignon,  governor  of  Naples; 
Counts  de  Very,  de  Longis,  D’Arjuzen,  Nansouty, 
Eorbin,  Beausset,  and  Detemaud,  all  filling  distin- 
guished posts;  Duroc,  Duke  of  Frioul,  grand  mare- 
schal  of  the  palace;  Counts  de  Jaucourt,  Brigade, 
de  Boudy,  and  de  Laville ; the  Baron  Beaumont ; 
the  Duke  of  Cosse  Brissac ; Madame,  mother  of  the 
emperor  ; Count  Beaumont ; Countess  Fontanges  ; 
Madame  la  Mareschal  Soult ; the  Duke  of  Gravina, 
ambassador  from  Spain  ; Count  Marescalchi,  minister 
of  the  Kingdom  of  Lombardy;  Count  Cobenzel, 
Austrian  ambassador ; the  Turkish  envoy ; Mr. 
Armstrong,  ambassador  from  the  United  States ; the 
Marquis  of  Luchesini,  Prussian  envoy ; M.  and 
Madame  David ; and  the  senator  Yien,  master 
of  the  artist ; of  whom  the  emperor  said,  when  view- 
ing the  picture,  “ I perceive  the  likeness  of  the 
good  M.  Yien.”  Whereto  the  painter  replied,  “ I 
was  desirous  to  testify  my  gratitude  to  my  master, 


184  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

by  placing  him  in  a picture,  which  from  its  subject 
will  be  the  most  important  of  my  labors.”  There 
were,  besides  the  poet  Lebrun ; G-retry  the  musician  ; 
Monges,  member  of  the  Institute ; Count  D’Aubusson 
de  la  Feuillade;  chamberlain,  etc.,  etc. 

The  Bourbons,  upon  their  restoration,  unmindful 
of  the  arts,  and  actuated  by  a mean  spirit  of  revenge, 
ordered  this  chef  d’oeuvre  of  David  to  be  destroyed, 
which  was  accordingly  done  ! ! When  Napoleon  re- 
turned to  Paris,  the  existing  government,  conceiving 
it  important  that  the  picture  should  be  replaced,  re- 
quested David  to  repaint  his  former  picture,  which  he 
felt  great  repugnance  to  do,  regarding  it  as  not  within 
the  province  of  real  genius  to  repaint  former  produc- 
tions. He  was,  however,  prevailed  upon  to  acquiesce, 
and  the  government  agreed  to  pay  the  same  price  that 
he  had  received  for  the  original,  100,000  francs. 
Upon  Napoleon’s  second  abdication,  the  Emperor 
Alexander,  aware  of  the  history  of  the  performance, 
made  overtures  to  become  possessed  of  it,  after  David 
had  completed  it  at  Brussels ; but,  though  his  offers 
were  munificent,  the  painter  refused  to  part  with  it, 
and  left  it  to  his  son,  wl^  subsequently  exhibited  it 
in  London. 


DAVID  AND  THE  DUKE  OE  WELLINGTON. 

During  David’s  exile  at  Brussels,  the  Duke  of 
Wellington  called  on  him,  and  said,  “ Monsieur 


SCULPTORS,  AND  ARCHITECTS. 


185 


David,  I have  called  to  have  my  portrait  taken  by  the 
illustrious  painter  of  Leonidas  at  Thermopylae.” 
David,  eyeing  fiercely  the  man  who  had  humbled  his 
country,  and  dethroned  her  Emperor,  replied,  “ Sir, 
I cannot  paint  the  English.” 

DAVID  AND  THE  CARDINAL  CAPRARA. 

David  introduced  the  Cardinal  Caprara,  as  the 
Pope’s  legate,  in  the  picture  of  the  Coronation  of 
Napoleon,  without  his  wig.  The  likeness  was  exact, 
and  the  Cardinal  remonstrated  with  David  on  the 
omission,  desiring  him  to  supply  it.  The  painter 
replied  that  he  never  had  and  never  would  paint  a 
wig.  The  Cardinal  then  applied  to  the  Minister  of 
Foreign  Affairs,  and  represented  that  as  no  pope  had 
hitherto  worn  a wig,  it  might  seem  as  if  he  (Caprara) 
had  purposely  left  his  own  off,  to  show  his  pretensions 
to  the  tiara.  David,  however,  stood  firm  as  a rock, 
even  before  Talleyrand,  and  said,  tl  his  Eminence  may 
think  himself  lucky  that  nothing  but  his  wig  has  been 
taken  off.” 

DAVID  AT  BRUSSELS. 

David,  then  advanced  in  years,  severely  felt  his 
exile  at  Brussels.  He  lived  very  retired,  saw  little 
company,  and  seldom  went  abroad.  It  is  related 
that  Talma,  during  a professional  engagement  at 
Brussels,  got  up  the  tragedy  of  Leonidas,  expressly 
to  gratify  his  old  friend,  and  invited  him  to  the  thea- 
tre to  see  the  performance.  David  consented  to  go, 


186 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


but  told  Talma  lie  must  pardon  him  if  he  should 
happen  to  nod.  As  soon  as  David  was  recognized  in 
the  theatre,  the  whole  house  rose  en  masse,  and  gave 
three  hearty  cheers  for  the  illustrious  exile,  which  so 
affected  him  that  he  burst  into  tears.  When  the  per- 
formance commenced,  so  far  from  giving  way  to  sleep, 
he  became  completely  absorbed  in  the  play,  and  when 
the  curtain  dropped,  he  exclaimed,  “ Heavens  ! how 
glorious  it  is  to  possess  such  a talent.” 

PIERRE  MIGNARD. 

There  have  been  found  occasionally  some  artists 
who  could  so  perfectly  imitate  the  spirit,  the  taste, 
the  character,  and  the  peculiarities  of  great  masters, 
that  they  have  not  unfrequently  deceived  the  most 
skillful  connoisseurs. 

An  anecdote  of  Pierre  Mignard  is  singular.  This 
great  artist  painted  a Magdalen  on  a canvas  fabri- 
cated at  Rome.  A broker,  in  concert  with  him, 
went  to  the  Chevalier  de  Clairville,  and  told  him  as 
a secret,  that  he  was  to  receive  from  Italy  a Mag- 
dalen of  G-uido,  and  one  of  his  master-pieces.  The 
Chevalier  caught  the  bait,  begged  the  preference, 
and  purchased  the  picture  at  a very  high  price. 
Some  time  afterwards,  he  was  informed  that  he  had 
been  imposed  upon,  for  that  the  Magdalen  was 
painted  by  Mignard.  Although  Mignard  himself 
caused  the  alarm  to  be  given,  the  amateur  would 
not  believe  it ; all  the  connoisseurs  agreed  it  was 


SCULPTORS,  AND  ARCHITECTS.  187 

Guido,  and  the  famous  Le  Brun  corroborated  this 
opinion.  The  Chevalier  came  to  Mignard : “There 
are,”  said  he,  “ some  persons  who  assure  me  that 
my  Magdalen  is  your  work.”  “Mine!”  replied 
Mignard ; “ they  do  me  great  honor.  I am  sure 

that  Le  Brun  is  not  of  that  opinion.”  “ Le  Brun 

swears  it  can  he  none  other  than  a Guido,”  said  the 
Chevalier;  “you  shall  dine  with  me,  and  meet  seve- 
ral of  the  first  connoisseurs.”  On  the  day  of  meet- 
ing, the  picture  was  more  closely  inspected  than 
ever.  Mignard  hinted  his  doubts  whether  the  piece 
was  the  work  by  Guido  ; he  insinuated  that  it  was 
possible  to  be  deceived,  and  added  that,  if  it  was 
Guido’s,  he  did  not  think  it  in  his  best  manner.  “ I 
am  perfectly  convinced  that  it  is  a Guido,  sir,  and  in 
his  very  best  manner,”  replied  Le  Brun,  with 
warmth ; and  all  the  critics  unanimously  agreed 
with  him.  Mignard  then  said,  in  a firm  tone  of 
voice,  “ And  I,  gentlemen,  will  wager  three  hundred 
louis  that  it  is  not  a Guido.”  The  dispute  now 
became  violent — Le  Brun  was  desirous  of  accept- 
ing the  wager.  In  a word,  the  affair  became  such 
as  could  add  nothing  more  to  the  glory  of  Mig- 
nard. “No,  sir,”  replied  the  latter;  “I  am  too 
honest  to  bet,  when  I am  certain  to  win.  Monsieur 
le  Chevalier,  this  piece  cost  you  two  thousand 
crowns ; the  money  must  be  returned — the  painting 
is  by  my  hand.”  Le  Brun  would  not  believe  it. 
“ The  proof,”  continued  Mignard,  “ is  easy ; on  this 


188  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

canvas,  which  is  a Roman  one,  was  the  portrait  of  a 
Cardinal;  I will  show  you  his  cap.” 

The  Chevalier  did  not  know  which  of  the  rival 
artists  to  believe ; the  proposition  alarmed  him. 
“ He  who  painted  the  picture  shall  mend  it,”  said 
Mignard ; and  taking  a pencil  dipped  in  spirits,  and 
rubbing  the  hair  of  the  Magdalen,  he  soon  discovered 
the  cap  of  the  Cardinal.  The  honor  of  the  ingenious 
painter  could  no  longer  be  disputed. 

SIR  JOSHUA  REYNOLDS. 

This  eminent  painter  was  born  at  Plympton,  in 
Devonshire,  in  1728.  He  was  the  son  of  the  Rev. 
Samuel  Reynolds,  who  intended  him  for  the  medi- 
cal profession ; but  his  natural  taste  and  genius  for 
painting,  induced  his  father  to  send  him  to  London 
to  study  painting  under  Hudson,  when  he  was  seven- 
teen years  of  age.  In  1749,  he  accompanied  Cap- 
tain, afterwards  Lord  Keppel  to  the  Mediterranean, 
and  passed  about  three  years  in  Italy.  On  his  re- 
turn to  England,  he  established  himself  in  London, 
where  he  soon  acquired  a distinguished  reputation, 
and  rose  to  be  esteemed  the  head  of  the  English 
school  of  painting.  At  the  formation  of  the  Royal 
Academy  in  1768,  he  was  elected  president,  and  re- 
ceived the  honor  of  knighthood.  In  1781  he  visited 
Holland  and  the  Netherlands  to  examine  the  pro- 
ductions of  the  Dutch  and  Flemish  masters,  by 
which  he  is  said  to  have  improved  his  coloring.  In 
1784,  on  the  death  of  Ramsay,  he  was  appointed 


SCULPTORS,  AND  ARCHITECTS. 


189 


principal  painter  to  the  King.  He  died  in  1792, 
and  his  remains  were  deposited  in  the  crypt  of  St. 
Paul’s  cathedral,  near  the  tomb  of  Sir  Christopher 
Wren.  He  formed  a splendid  collection  of  works 
of  art,  which,  after  his  death,  brought  at  public 
sale  about  £17,000;  and  the  whole  of  his  property 
amounted  to  about  £80,000,  the  bulk  of  which  he 
left  to  his  niece,  who  married  Lord  Inchiquin,  after- 
wards Marquis  of  Thomond.  He  never  married;  his 
sister  Frances  Reynolds  conducted  his  domestic  affairs. 
He  was  fond  of  the  society  of  literary  men,  kept  open 
house,  and  seldom  dined  without  his  table  being  graced 
by  the  presence  of  some  of  the  chosen  spirits  of  the 
land.  He  was  simple  and  unostentatious  in  his  habits 
and  affable  in  his  deportment ; and  while  his  table  was 
abundantly  supplied,  there  was  an  absence  of  all  cere- 
mony, and  each  guest  was  made  to  feel  himself  per- 
fectly at  home,  which  gave  a delightful  zest  to  his 
hospitality. 

REYNOLDS’  NEW  STYLE. 

Soon  after  Reynolds’  return  to  England  from  Italy, 
in  1752,  he  commenced  his  professional  career  in  St. 
Martin’s  Lane,  London.  He  found  such  opposition 
as  genius  is  commonly  doomed  to  encounter,  and  does 
not  always  overcome.  The  boldness  of  his  attempts, 
and  the  brilliancy  of  his  coloring,  were  considered 
innovations  upon  the  established  and  orthodox  sys- 
tem of  portrait  manufacture,  in  the  styles  of  Lely 
and  Kneller.  The  old  artists  first  raised  their  voices. 


ICO  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

H is  old  master  Hudson  called  at  his  rooms  to  see 
his  Turkish  Boy,  which  had  caused  quite  a sensa- 
tion in  the  town.  After  contemplating  the  picture 
some  minutes,  he  said  with  a national  oath, — “ Why, 
Reynolds,  you  do  not  paint  as  well  as  you  did  when 
you  left  England.”  Ellis,  an  eminent  portrait 
maker,  who  had  studied  under  Kneller,  next  lifted 
up  his  voice.  “ Ah,  Reynolds,”  said  he,  “ this  will 
never  answer,  you  do  not  paint  in  the  least  like  Sir 
Godfrey.”  When  the  young  artist  vindicated  him- 
self with  much  ability,  Ellis,  finding  himself  unable 
to  give  any  good  reasons  for  the  objections  he  had 
made,  cried  out  in  a rage,  “ Shakspeare  in  poetry, 
and  Kneller  in  painting  for  me,”  and  stalked  out  of 
the  room.  Reynolds’  new  style,  notwithstanding  the 
vigorous  opposition  he  met  with,  took  with  the  fash- 
ionable world,  his  fame  spread  far  and  wide,  and  he 
soon  became  the  leading  painter  in  London.  In  1754, 
he  removed  from  St.  Martin’s  Lane,  the  Grub-street 
of  artists,  and  took  a handsome  house  on  the  north 
side  of  Great  Newport-Street,  which  he  furnished 
with  elegance  and  taste.  Northcote  says  his  apart- 
ments were  filled  with  ladies  of  quality  and  with  men 
of  rank,  all  alike  desirous  to  have  their  persons  pre- 
served to  posterity  by  one  who  touched  no  sub- 
ject without  adorning  it.  “ The  desire  to  perpetu- 
ate the  form  of  self-complacency,  crowded  the  sitting 
room  of  Reynolds  with  women  who  wished  to  be 
transmitted  as  angels,  and  with  men  who  wished  to 
appear  as  heroes  and  philosophers.  From  his  pencil 


SCULPTORS,  AND  ARCHITECTS.  191 

they  were  sure  to  be  gratified.  The  force  and  facil- 
ity of  his  portraits,  not  only  drew  around  him  the 
opulence  and  beauty  of  the  nation,  but  happily  gained 
him  the  merited  honor  of  perpetuating  the  features 
of  all  the  eminent  and  distinguished  men  of  learning 
then  living. 

REYNOLDS’  PRICES. 

“ The  price,”  says  Cunningham,  “ which  Reynolds 
at  first  received  for  a head  was  five  guineas ; the  rate 
increased  with  his  fame,  and  in  the  year  1755  his 
charge  was  twelve.  Experience  about  this  time 
dictated  the  following  memorandum  respecting  his 
art.  £ For  painting  the  flesh  : — black,  blue-black, 
white,  lake,  carmine,  orpiment,  yellow-ochre,  ultra- 
marine,  and  varnish.  To  lay  the  palette  : — first  lay, 
carmine  and  white  in  different  degrees ; second  lay, 
orpiment  and  white  ditto  ; third  lay,  blue-black^and 
white  ditto.  The  first  sitting,  for  expedition,  make  a 
mixture  as  like  the  sitters’  complexion  as  you  can.’ 
Some  years  afterwards,  I find,  by  a casual  notice  from 
Johnson  that  Reynolds  had  raised  his  price  for  a 
head  to  twenty  guineas. 

“ The  year  1758  was  perhaps  the  most  lucrative 
of  his  professional  career.  The  account  of  the  eco- 
nomy of  his  studies,  and  the  distribution  of  his  time 
at  this  period,  is  curious  and  instructive.  It  was 
his  practice  to  keep  all  the  prints  engraved  from  his 
portraits,  together  with  his  sketches,  in  a large  port- 
folio ; these  he  submitted  to  his  sitters ; and  what- 


*92  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

ever  position  they  selected,  he  immediately  proceed- 
ed to  copy  it  on  the  canvas,  and  paint  the  likeness  to 
correspond.  He  received  six  sitters  daily,  who  ap 
peared  in  their  turns ; and  he  kept  regular  lists  of 
those  who  sat,  and  of  those  who  were  waiting  until 
a finished  portrait  should  open  a vacancy  for  their 
admission.  He  painted  them  as  they  stood  on  his 
list,  and  often  sent  the  work  home  before  the  colors 
were  dry.  Of  lounging  visitors  he  had  a great  ab- 
horrence, and,  as  he  reckoned  up  the  fruits  of  his 
labors,  c Those  idle  people,’  said  this  disciple  of  the 
grand  historical  school  of  Raphael  and  Angelo, 
1 those  idle  people  do  not  consider  that  my  time  is 
worth  five  guineas  an  hour.’  This  calculation  inci- 
dentally informs  us,  that  it  was  Reynolds’  practice,  in 
the  height  of  his  reputation  and  success,  to  paint  a 

portrait  in  four  hours.” 

% 

REYNOLDS’  IN  LEICESTER  SQUARE. 

Reynold’s  commissions  continued  to  increase,  and 
to  pour  in  so  abundantly,  that  in  addition  to  his  pu- 
pils, he  found  it  necessary  to  employ  several  subordi- 
nate artists,  skillful  in  drapery  and  back-grounds,  as 
assistants.  He  also  raised  his  price  to  twenty-five 
guineas  a head. 

“ In  the  year  1761,”  says  Cunningham,  “ the  accu- 
mulating thousands  which  Johnson  speaks  of,  began 
to  have  a visible  effect  on  Reynolds1  establishment. 
He  quitted  Newport  Street,  purchased  a fine  house 
on  the  west  side  of  Leicester  Square,  furnished  it  with 


SCULPTORS,  AND  ARCHITECTS. 


193 


much  taste,  added  a splendid  gallery  for  the  exhibi- 
tion of  his  works,  and  an  elegant  dining-room ; 
and  finally  taxed  his  invention  and  his  purse  in  the 
production  of  a carriage,  with  wheels  carved  and 
gilt,  and  bearing  on  its  pannels  the  Four  Seasons  of 
the  year.  Those  who  flocked  to  see  his  new  gallery, 
were  sometimes  curious  enough  to  desire  a sight  of 
this  gay  carriage,  and  the  coachman,  imitating  the 
lackey  who  showed  the  gallery,  earned  a little  money 
by  opening  the  coach-house  doors.  His  sister  com- 
plained that  it  was  too  showy— ‘ What !’  said  the 
painter,  ‘ would  you  have  one  like  an  apothecary’s 
carriage  ?’ 

u By  what  course  of  study  he  attained  his  skill  in 
art,  Reynolds  has  not  condescended  to  tell  us ; but 
of  many  minor  matters  we  are  informed  by  one 
of  his  pupils,  with  all  the  scrupulosity  of  biography. 
His  study  was  octagonal,  some  twenty  feet  long, 
sixteen  broad,  and  about  fifteen  feet  high.  The 
window  was  small  and  square,  and  the  sill  nine  feet 
from  the  floor.  His  sitter’s  chair  moved  on  casters, 
and  stood  above  the  floor  a foot  and  a half ; he  held 
his  palettes  by  a handle,  and  the  sticks  of  his  brush- 
es were  eighteen  inches  long.  He  wrought  standing, 
with  great  celerity.  He  rose  early,  breakfasted  at 
nine,  entered  his  study  at  ten,  examined  designs,  or 
touched  unfinished  portraits  till  eleven  brought  a sit- 
ter; painted  till  four;,  then  dressed,  and  gave  the 
evening  to  company. 

11  His  table  was  now  elegantly  furnished,  and 


194  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

round  it  men  of  genius  were  often  found.  He  was 
a lover  of  poetry  and  poets;  they  sometimes  read 
their  productions  at  his  house,  and  were  rewarded 
by  his  approbation,  and  occasionally  by  their  por- 
traits. J ohnson  was  a frequent  and  a welcome  guest ; 
though  the  sage  was  not  seldom  sarcastic  and  over- 
bearing, he  was  endured  and  caressed,  because  he 
poured  out  the  riches  of  his  conversation  more  lavishly 
than  Reynolds  did  his  wines.  Percy  was  there  too 
with  his  ancient  ballads  and  his  old  English  lore; 
and  Goldsmith  with  his  latent  genius,  infantine  viva- 
city, and  plum-colored  coat.  Burke  and  his  brothers 
were  constant  guests,  and  Garrick  was  seldom  absent, 
for  he  loved  to  be  where  greater  men  were.  It  was 
honorable  to  this  distinguished  artist  that  he  per- 
ceived the  worth  of  such  men,  and  felt  the  honor 
which  their  society  shed  upon  him;  but  it  stopped 
not  here — he  often  aided  them  with  his  purse,  nor  in- 
sisted upon  repayment.” 

THE  FOUNDING  OF  THE  ROYAL  ACADEMY. 

“ The  Royal  Academy,”  says  Cunningham,  u was 
planned  and  proposed  in  1768,  by  Chambers,  West, 
Cotes  and  Moser;  the  caution  or  timidity  of  Rey- 
nolds kept  him  for  some  time  from  assisting.  A list 
of  thirty  members  was  made  out;  and  West,  a pru- 
dent and  amiable  man,  called  on  Reynolds,  and,  in 
a conference  of  two  hours’  continuance,  succeeded  in 
persuading  him  to  join  them.  He  ordered  his 
carriage,  and,  accompanied  by  West,  entered  the 


SCULPTORS,  AND  ARCHITECTS.  195 

room  where  his  brother  artists  were  assembled. 
They  rose  up  to  a man,  and  saluted  him  President.’ 
He  was  affected  by  the  compliment,  but  declined? 
the  honor  till  he  had  talked  with  Johnson  and 
Burke;  he  went,  consulted  his  friends,  and  having 
considered  the  consequences  carefully,  then  consent- 
ed. He  expressed  his  belief  at  the  same  time,  that 
their  scheme  was  a mere  delusion : the  King,  he 
said,  would  not  patronize  nor  even  acknowledge 
them,  as  his  majesty  was  well  known  to  be  the  friend 
of  another  body — “ The  Incorporated  Society  of 
Artists.’ 

The  truth  is,  the  Boyal  Academy  was  planned  at 
the  suggestion  of  the  King  himself.  He  had  learn- 
ed, through  West,  the  cause  of  the  indecent  bicker- 
ings in  the  Society  of  Artists,  and  declared  to  him 
that  he  was  ready  to  patronize  any  institution  founded 
on  principles  calculated  to  advance  the  interests  of 
art.  West  communicated  the  King’s  declaration  to 
some  of  the  dissenters,*  who  drew  up  a plan  which  the 
king  corrected  with  his  own  hand.  See  Spooner’s 
Dictionary  of  Painters,  Engravers,  Sculptors,  and 
Architects,  article  West. 

REYNOLDS  AND  DR.  JOHNSON. 

In  the  year  1754,  Reynolds  accidentally  made  the 
acquaintance  of  Dr.  Samuel  Johnson,  which  ripened 
into  a mutual  and  warm  friendship,  that  continued 
through  life.  Of  the  fruit  which  he  derived  from 
this  intercourse,  Reynolds  thus  speaks,  in  one  of  his 
Discourses  on  Art : 


196  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

u Whatever  merit  these  Discourses  may  have, 
must  be  imputed  in  a great  measure  to  the  educa- 
tion which  I may  be  said  to  have  had  under  Dr. 
Johnson.  I do  not  mean  to  say,  though  it  certainly 
would  be  to  the  credit  of  these  Discourses  if  I could 
say  it  with  truth,  that  he  contributed  even  a single 
sentiment  to  them  ; but  he  qualified  my  mind  to 
think  justly.  No  man  had,  like  him,  the  art  of 
teaching  inferior  minds  the  art  of  thinking.  Perhaps 
other  men  might  have  equal  knowledge,  but  few  were 
so  communicative  His  great  pleasure  was  to  talk  to 
those  who  looked  up  to  him.  It  was  here  he  exhibited 
his  wonderful  powers.  The  observations  which  he 
made  on  poetry,  on  life,  and  on  everything  about  us, 
I applied  to  one  art- — with  what  success  others  must 
judge.” 

DR.  JOHNSON’S  FRIENDSHIP  FOR  REYNOLDS. 

In  1764,  Reynolds  was  attacked  by  a sudden  and 
dangerous  illness.  He  was  cheered  by  the  sympathy 
of  many  friends,  and  by  the  solicitude  of  Johnson, 
who  thus  wrote  him  from  Northamptonshire : 

u I did  not  hear  of  your  sickness  till  I heard  like- 
wise of  your  recovery,  and  therefore  escaped  -that 
part  of  your  pain  which  every  man  must  feel  to 
whom  you  are  known  as  you  are  known  to  me.  If 
the  amusement  of  my  company  can  exhilarate  the 
languor  of  a slow  recovery,  I will  not  delay  a day 
to  come  to  you ; for  I know  not  how  I can  so  effec- 
tually promote  my  own  pleasure  as  by  pleasing  you, 


SCULPTORS,  AND  ARCHITECTS. 


197 


or  my  own  interest  as  by  preserving  yon ; in  whom, 
if  I should  lose  yon,  I should  lose  almost  the  only 
man  whom  I can  call  a friend.”  He  to  whom  John- 
son could  thus  write,  must  have  possessed  many  noble 
qualities ; for  no  one  could  estimate  human  nature 
more  truly  than  that  illustrious  man. 

JOHNSON’S  APOLOGY  FOE  PORTRAIT  PAINTING. 

Johnson  showed  his  kindly  feelings  for  Sir  Joshua 
Reynolds,  by  writing  the  following  apology  for  por- 
trait painting.  Had  the  same  friendship  induced  him 
to  compliment  West,  he  doubtless  would  have  written 
in  a very  different  strain  : 

“ Genius,”  said  he,  “ is  chiefly  exerted  in  histori- 
cal pictures,  and  the  art  of  the  painter  of  portraits 
is  often  lost  in  the  obscurity  of  the  subject.  But  it 
is  in  painting  as  in  life ; what  is  greatest  is  not 
always  best.  I should  grieve  to  see  Reynolds 
transfer  to  heroes  and  goddesses,  to  empty  splendor 
and  to  airy  fiction,  that  art  which  is  now  employed 
in  diffusing  friendship,  in  renewing  tenderness,  in 
quickening  the  affections  of  the  absent,  and  con- 
tinuing the  presence  of  the  dead.  Every  man  is 
always  present  to  himself,  and  has,  therefore,  little 
need  of  his  own  resemblance ; nor  can  desire  it,  but 
for  the  sake  of  those  whom  he  loves,  and  by  whom 
he  hopes  to  be  remembered.  This  use  of  the  art  is 
a natural  and  reasonable  consequence  of  affection  ; 
and  though,  like  all  other  human  actions,  it  is  often 
complicated  with  pride,  yet  even  such  pride  is  more 


198  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

laudable  than  that  by  which  palaces  are  covered  with 
pictures,  which  however  excellent,  neither  imply  the 
owner’s  virtue,  nor  excite  it.” 

THE  LITERARY  CLUB. 

The  Literary  Club  was  founded  by  Dr.  Johnson, 
in  1764,  and  among  many  men  of  eminence  and  tal- 
ent, it  numbered  Reynolds.  His  modesty  would 
not  permit  him  to  assume  to  himself  the  distinction 
which  literature  bestows,  but  his  friends  knew  too 
well  the  value  of  his  presence,  to  lose  it  by  a fastidi- 
ous observance  of  the  title  of  the  club.  Poets, 
painters,  and  sculptors,  are  all  brothers ; and  had 
Reynolds  been  less  eminent  in  art,  his  sound  sense, 
varied  information,  and  pleasing  manners  would  have 
made  him  an  acceptable  companion  in  the  most  intel- 
lectual society. 

JOHNSON’S  PORTRAIT. 

In  1775,  Sir  Joshua  Reynolds  painted  his  famous 
portrait  of  Dr.  Johnson,  in  which  he  represented 
him  as  reading,  and  near-sighted.  This  latter  cir- 
cumstance was  very  displeasing  to  the  “ Giant  of 
Literature,”  who  reproved  Reynolds,  saying,  “ It  is 
not  friendly  to  hand  down  to  posterity  the  imperfec- 
tions of  any  man.”  But  Reynolds  on  the  contrary, 
considered  it  a natural  peculiarity  which  gave  addi- 
tional value  to  the  portrait.  Johnson  complained 
of  the  caricature  to  Mrs.  Thrale,  who  to  console  him, 
said  that  he  would  not  be  known  to  posterity  by  his 


SCULPTORS.  AND  ARCHI1ECTS. 


199 


defects  only,  and  that  Reynolds  had  painted  for  her 
his  own  portrait,  with  the  ear-trumpet.  He  replied, 
“ He  may  paint  himself  as  deaf  as  he  chooses,  but  he 
shall  not  paint  me  as  blinking  Sam” 

JOHNSON’S  DEATH. 

“ Amidst  the  applause,”  says  Cunningham,  “ which 
these  works  obtained  for  him,  the  President  met  with 
a loss  which  the  world  could  not  repair — Samuel 
Johnson  died  on  the  13th  of  December,  1784,  full  of 
years  and  honors.  A long,  a warm,  and  a beneficial 
friendship  had  subsisted  between  them.  The  house 
and  the  purse  of  Reynolds  were  ever  open  to  Johnson, 
and  the  word  and  the  pen  of  J ohnson  were  equally 
ready  for  Reynolds.  It  was  pleasing  to  contemplate 
this  affectionate  brotherhood,  and  it  was  sorrowful 
to  see  it  dissevered.  ‘ I have  three  requests  to 
make,’  said  Johnson,  the  day  before  his  death,  1 and 
I beg  that  you  will  attend  to  them,  Sir  Joshua. 
Forgive  me  thirty  pounds,  which  I borrowed  from 
you — read  the  Scriptures — and  abstain  from  using 
your  pencil  on  the  Sabbath-day.’  Reynolds  pro- 
mised, and— -what  is  better — remembered  his  pro- 
mise.” 

REYNOLDS  AND  GOLDSMITH. 

We  hear  much  about  “ poetic  inspiration,”  and 
the  “ poet’s  eye  in  a fine  frenzy  rolling.”  Reynolds 
used  to  tell  an  anecdote  of  Goldsmith  calculated  to 
abate  our  notions  about  the  ardor  of  composition. 


200  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

Calling  upon  the  poet  one  day,  he  opened  the  door 
without  ceremony,  and  found  him  engaged  in  the 
double  occupation  of  tuning  a couplet  and  teaching  a 
pet  dog  to  sit  upon  its  haunches.  At  one  time  he 
would  glance  at  his  desk,  and  at  another  shake  his 
finger  at  the  dog  to  make  him  retain  his  position. 
The  last  lines  on  the  page  were  still  wet;  they  form 
a part  of  the  description  of  Italy  : 

“ By  sports  like  these  are  all  their  cares  beguiled ; 

The  sports  of  children  satisfy  the  child.55 

Goldsmith,  with  his  usual  good  humor,  joined  in 
the  laugh  caused  by  his  whimsical  employment,  and 
acknowledged  that  his  boyish  sport  with  the  dog  sug- 
gested the  lines. 

THE  DESERTED  VILLAGE. 

When  Mr.  Goldsmith  published  his  Deserted  Vil- 
lage, he  dedicated  it  to  Sir  Joshua  Reynolds,  in  the 
following  kind  and  touching  manner.  u The  only 
dedication  I ever  made  was  to  my  brother,  because  I 
loved  him  better  than  most  other  men ; he  is  since 
dead.  Permit  me  to  inscribe  this  poem  to  you.” 

GOLDSMITH’S  “ RETALIATION.55 

At  a festive  meeting,  where  Johnson,  Reynolds, 
Burke,  Garrick,  Douglas,  and  Goldsmith,  were  con- 
spicuous, the  idea  of  composing  a set  of  extempore 
epitaphs  on  one  another  was  started.  Garrick  of- 


SCULPTORS,  AND  ARCHITECTS.  201 

fended  Goldsmith  so  much  by  two  very  indifferent 
lines  of  waggery,  that  the  latter  avenged  himself  by 
composing  the  celebrated  poem  Retaliation,  in  which 
he  exhibits  the  characters  of  his  companions  with 
great  liveliness  and  talent.  The  lines  have  a melan- 
choly interest,  from  being  the  last  the  author  wrote. 
The  character  of  Sir  Joshua  Reynolds  is  drawn 
with  discrimination  and  judgment — a little  flattered, 
resembling  his  own  portraits  in  which  the  features 
are  a little  softened,  and  the  expression  a little  ele- 
vated. 

“ Here  Reynolds  is  laid,  and,  to  tell  you  my  mind, 

He  has  not  left  a wiser  or’  better  behind ; 

His  pencil  was  striking,  resistless,  and  grand  ; 

His  manners  were  gentle,  complying,  and  bland ; 

* Still  born  to  improve  us  in  every  part, 

His  pencil  our  faces,  his  manners  our  heart.” 

POPE  A PAINTER. 

Reynolds  was  a great  admirer  of  Pope.  A fan 
which  the  poet  presented  to  Martha  Blount,  and  on 
which  he  had  painted  with  his  own  hand  the  story 
of  Gephalus  and  Procris,  with  the  motto  “ Aura 
Veni,”  was  to  be  sold  at  auction.  Reynolds  sent  a 
messenger  to  bid  for  it  as  far  as  thirty  guineas,  but 
it  was  knocked  down  for  two  pounds.  “ See,”  said 
the  president  to  his  pupils,  who  gathered  around 
him,  “the  painting  of  Pope;— this  must  always  be 
the  case,  when  the  work  is  taken  up  for  idleness,  and 
is  laid  aside  when  it  ceases  to  amuse ; it  is  like  the 


202  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

work  of  one  who  paints  only  for  amusement.  Thosd 
who  are  resolved  to  excel,  must  go  to  their  work, 
willing  or  unwilling,  morning,  noon,  and  night ; they 
will  find  it  to  be  no  play,  but  very  hard  labor.” 

REYNOLD’S  FIRST  ATTEMPTS  IN  ART. 

This  excellent  painter,  in  his  boyhood,  showed  his 
natural  taste  for  painting,  by  copying  the  various 
prints  that  fell  in  his  way.  His  father,  a clergyman, 
thought  this  an  idle  passion,  which  ought  not  to  be 
encouraged ; he  esteemed  one  of  these  youthful 
performances  worthy  of  his  endorsement,  and  he 
wrote  underneath  it,  “ Done  by  Joshua  out  of  pure 
idleness.”  The  drawing  is  still  preserved  in  the 
family. 

Dr.  Johnson  says  that  Sir  Joshua  Reynolds  had 
his  first  fondness  of  the  art  excited  by  the  perusal  of 
Richardson’s  Treatise  on  Painting. 


THE  FORCE  OP  HABIT. 

Portraits  in  the  time  of  Hudson,  the  master  of 
Reynolds,  were  usually  painted  in  one  attitude — one 
hand  in  the  waistcoat,  and  the  hat  under  the  arm. 
A gentleman  whose  portrait  young  Reynold’s  paint- 
ed, desired  to  have  his  hat  on  his  head.  The  picture 
was  quickly  despatched  and  sent  home,  when  it  was 
discovered  that  it  had  two  hats,  one  on  the  head,  and 
another  under  the  arm  ! 


SCULPTORS,  AND  ARCHITECTS. 


203 


PAYING  THE  PIPER. 

“ What  do  you  ask  for  this  sketch  ?”  said  Rey- 
nolds to  a dealer  in  old  pictures  and  prints,  as  he 
was  looking  over  his  portfolio.  The  shrewd  trades- 
man, observing  from  his  manner  that  he  had  found 
a gem,  quickly  replied,  “ Twenty  guineas?  your 
honor.”  “Twenty  pence,  I suppose  you  mean.” 
“ No,  sir ; it  is  true  I would  have  sold  it  for  twenty 
pence  this  morning  ; but  if  you  think  it  worth  hav- 
ing, all  the  world  will  think  it  worth  buying.”  Sir 
Joshua  gave  him  his  price.  It  was  an  exquisite 
drawing  by  Rubens. 

REYNOLDS’  MODESTY. 

Sir  Joshua  Reynolds,  like  many  other  distinguish- 
ed artists,  was  never  satisfied  with  his  works,  and 
endeavored  to  practise  his  maxim,  that  “ an  artist 
should  endeavor  to  improve  over  his  every  per- 
formance.” When  an  eminent  French  painter  was 
one  day  praising  the  excellence  of  one  of  his  pic- 
tures, he  said,  “ Ah ! Monsieur , Je  ne  fais  que 
des  ebauches , des  ebauchesP — Alas ! sir,  I can  only 
make  sketches,  sketches. 

REYNOLDS’  GENEROSITY. 

Sir  Joshua  Reynolds  has  been  charged  by  his 
enemies  with  avarice ; but  there  are  many  instances 
recorded  which  show  that  he  possessed  a noble  and 
generous  heart. 


204  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

When  Gainsborough  charged  him  but  sixty  gui- 
neas for  his  celebrated  picture  of  the  Girl  and  Pigs, 
Reynolds,  conscious  that  it  was  worth  much  more, 
gave  him  one  hundred.  Hearing  that  a worthy 
artist  with  a large  family  was  in  distress,  and  threat- 
ened with  arrest,  he  paid  him  a visit,  and  learning 
that  the  extent  of  his  debts  was  but  forty  pounds, 
he  shook  him  warmly  by  the  hand  as  he  took  his 
leave,  and  the  artist  was  astonished  to  find  in  his 
fingers  a bank-note  of  one  hundred  pounds.  When 
Dayes,  an  artist  of  merit,  showed  him  his  drawings 
of  a Royal  pageant  at  St.  Paul’s,  Reynolds  compli- 
mented him,  and  said  that  he  had  bestowed  so 
much  labor  upon  them  that  he  could  not  be  remu- 
nerated by  selling  them,  but  told  him  that  if  he 
w7ould  publish  them  he  would  loan  him  the  neces- 
sary funds,  and  engage  to  get  him  a handsome  sub- 
scription among  the  nobility. 

REYNOLDS’  LOVE  OF  HIS  ART. 

Reynolds  was  an  ardent  lover  of  his  profession, 
and  ever  as  ready  to  defend  it  when  assailed,  as  to 
add  to  its  honors  by  his  pencil.  When  Dr.  Tucker, 
the  famous  Dean  of  Gloucester,  in  his  discourse 
before  the  Society  for  the  Encouragement  of  Arts, 
Manufactures,  and  Commerce,  asserted  that  “ a pin- 
maker  was  a more  valuable  member  of  society  than 
Raffaelle,”  Reynolds  was  greatly  nettled,  and  said, 
with  some  asperity,  “ This  is  an  observation  of  a 
very  narrow  mind ; a mind  that  is  confined  to  the 


SCULPTORS,  AND  ARCHITECTS. 


205 


mere  object  of  commerce — that  sees  with  a micro- 
scopic eye,  but  a part  of  the  great  machine  of  the 
economy  of  life,  and  thinks  that  small  part  which  he 
sees  to  be  the  whole.  Commerce  is  the  means,  not 
the  end  of  happiness  or  pleasure ; the  end  is  a ra- 
tional enjoyment  by  means  of  arts  and  sciences.  It 
is  therefore  the  highest  degree  of  folly  to  set  the 
means  in  a higher  rank  of  esteem  than  the  end.  It 
is  as  much  as  to  say  that  the  brick-maker  is  superior 
to  the  architect.”  He  might  have  added  that  the 
artisan  is  indebted  to  the  artist  for  the  design  of 
every  beautiful  fabric,  therefore  the  artist  is  a more 
u valuable  member  of  society”  than  the  manufac- 
turer or  the  merchant. 

REYNOLDS’  CRITICISM  ON  RUBENS. 

When  Sir  Joshua  Reynolds  made  his  first  tour  to 
Flanders  and  Holland,  he  was  struck  with  the  bril- 
liancy of  coloring  which  appeared  in  the  works  of 
Rubens,  and  on  his  return  he  said  that  his  own  works 
were  deficient  in  force,  in  comparison  with  what  he 
had  seen.  “ On  his  return  from  his  second  tour,” 
says  Sir  George  Beaumont,  “ he  observed  to  me 
that  the  pictures  of  Rubens  appeared  much  less 
brilliant  than  they  had  done  on  the  former  inspec- 
tion. He  could  not  for  some  time  account  for  this 
circumstance ; but  when  he  recollected  that  when 
he  first  saw  them  he  had  his  note-book  in  his  hand, 
for  the  purpose  of  writing  down  short  remarks,  he 
perceived  wdiat  had  occasioned  their  now  making  a 


206  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

less  impression  than  they  had  done  formerly.  By 
the  eye  passing  immediately  from  the  white  paper 
to  the  picture,  the  colors  derived  uncommon  rich- 
ness and  warmth ; but  for  want  of  this  foil  they 
afterwards  appeared  comparatively  cold.” 

REYNOLDS  AND  HAYDN’S  PORTRAIT. 

When  Haydn,  the  eminent  composer,  was  in 
England,  one  of  the  princes  commissioned  Reynolds 
to  paint  his  portrait.  Haydn  sat  twice,  but  he  soon 
grew  tired,  and  Reynolds  finding  he  could  make 
nothing  out  of  his  “ stupid  countenance,”  communi- 
cated the  circumstance  to  his  royal  highness,  who 
contrived  the  following  stratagem  to  rouse  him.  He 
sent  to  the  painter’s  house  a beautiful  German  girl, 
in  the  service  of  the  queen.  Haydn  took  his  seat, 
for  the  third  time,  and  as  soon  as  the  conversation 
began  to  flag,  a curtain  rose,  and  the  fair  German 
addressed  him  in  his  native  language  with  a most 
elegant  compliment.  Haydn,  delighted,  over- 
whelmed the  enchantress  with  questions  ; and  Rey- 
nolds, rapidly  transferring  to  the  canvas  his  fea- 
tures thus  lit  up,  produced  an  admirable  likeness. 

RUBENS’  LAST  SUPPER. 

Sir  Joshua  Reynolds  relates  the  following  anec- 
dote, in  his  “ Journey  to  Flanders  and  Holland.” 
He  stopped  at  Mechlin  to  see  the  celebrated  altar- 
piece  by  Rubens  in  the  cathedral,  representing  the 


SCULPTORS,  AND  ARCHITECTS.  207 

Last  Supper.  After  describing  the  picture,  he  pro- 
ceeds : — 

“ There  is  a circumstance  belonging  to  the  altar- 
piece,  which  may  be  worth  relating,  as  it  shows  Ru- 
bens’ manner  of  proceeding  in  large  works.  The 
person  who  bespoke  this  picture,  a citizen  of  Mech- 
lin, desired,  to  avoid  the  danger  of  carriage,  that 
it  might  be  painted  at  Mechlin  ; to  this  the  painter 
easily  consented,  as  it  was  very  near  his  country-seat 
at  Steen.  Rubens,  having  finished  his  sketch  in 
colors,  gave  it  as  usual  to  one  of  his  scholars  (V an  Eg- 
mont),  and  sent  him  to  Mechlin  to  dead-color  from  it 
the  great  picture.  The  gentleman,  seeing  this  pro- 
ceeding, complained  that  he  bespoke  a picture  of  the 
hand  of  the  master,  not  of  the  scholar,  and  stopped 
the  pupil  in  his  progress.  However,  Rubens  satis- 
fied him  that  this  was  always  his  method  of  pro- 
ceeding, and  that  this  piece  would  be  as  complete- 
ly his  work  as  if  he  had  done  the  whole  from  the 
beginning.  The  citizen  was  satisfied,  and  Rubens 
proceeded  with  the  picture,  which  appears  to  me  to 
have  no  indications  of  neglect  in  any  part ; on  the  con- 
trary, I think  it  has  been  one  of  his  best  pictures, 
though  those  who  know  this  circumstance  pre- 
tend to  see  Van  Egmont’s  inferior  genius  transpire 
through  Rubens’  touches.” 

REYNOLDS’  SKILL  IN  COMPLIMENTS. 

When  he  painted  the  portrait  of  Mrs.  Siddons 
as  the  Tragic  Muse,  he  wrought  his  name  on  the 


208  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

border  of  her  robe.  The  great  actress,  conceiving 
it  to  be  a piece  of  classic  embroidery,  went  near  to 
examine  it,  and  seeing  the  words,  smiled.  The  ar- 
tist bowed,  and  said,  “ I could  not  lose  this  oppor- 
tunity of  sending  my  name  to  posterity  on  the  hem 
of  your  garment.” 

EXCELLENT  ADVICE. 

Sir  Joshua  Reynolds*  in  his  letter  to  Barry,  ob- 
serves, “ Whoever  has  great  views,  I would  recom- 
mend to  him,  whilst  at  Rome,  rather  to  live  on  bread 
and  water,  than  lose  advantages  which  he  can  never 
hope  to  enjoy  a second  time,  and  which  he  will  find 
only  in  the  Vatican.” 

SIR  JOSHUA  REYNOLDS  AND  HIS  PORTRAITS. 

When  Sir  Joshua  was  elected  mayor  of  Plymp- 
ton,  his  native  town,  he  painted  an  admirable  por- 
trait of  himself  and  presented  it  to  the  mayor  and 
corporation,  an.d  it  now  hangs  in  the  town-hall. 
When  he  sent  the  picture,  he  wrote  to  his  friend 
Sir  Wm.  Elford,  requesting  him  to  put  it  in  a good 
light,  which  he  did,  and  to  set  it  off  he  placed  by 
its  side,  what  he  considered  to  be  a bad  picture. 
When  Sir  William  communicated  to  Reynolds  what 
he  had  done  in  order  that  the  excellence  of  his  pic- 
ture might  have  a more  striking  effect,  the  latter 
wrote  his  worthy  friend  that  he  was  greatly  obliged 
to  him  for  his  pains,  but  that  the  portrait  he  so  much 
despised  was  painted  by  himself  in  early  life. 


SCULPTORS,  AND  ARCHITECTS. 


209 


REYNOLDS’  FLAG. 

In  the  year  17 70,  a boy  named  Buckingham,  pre- 
suming upon  his  father’s  acquaintance  with  Sir 
Joshua  Reynolds,  called  on  the  president,  and  asked 
him  if  he  would  have  the  kindness  to  paint  him  a 
Hag  to  carry  in  the  procession  of  the  next  breaking 
up  of  the  school.  Reynolds,  whose  every  hour 
was  worth  guineas,  smiled,  and  told  the  lad  to  call 
again  at  a certain  time,  and  he  would  see  what 
could  be  done  for  him.  The  boy  accordingly  called 
at  the  set  time,  and  was  presented  with  an  elegant 
flag  a yard  square,  decorated  with  the  King’s  coat 
of  arms.  The  flag  was  triumphantly  carried  in  pro- 
fession, an  honor  as  well  as  a delight  to  the  boys, 
and  a still  greater  honor  to  him  who  painted  it,  and 
gave  his  valuable  time  to  promote  their  holiday 
amusements. 

burke’s  eulogy. 

Burke,  in  his  eulogy  on  Reynolds,  says,  aIn  full 
affluence  of  foreign  and  domestic  fame,  admired  by 
the  expert  in  art  and  by  the  learned  in  science, 
courted  by  the  great,  caressed  by  sovereign  powers, 
and  celebrated  by  distinguished  poets,  his  native 
humility,  modesty,  and  candor  never  forsook  him, 
even  on  surprise  or  provocation  : nor  was  the  least 
degree  of  arrogance  or  assumption  visible  to  the 
most  scrutinizing  eye  in  any  part  of  his  conduct  or 
discourse.” 


210  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 
REYNOLDS9  ESTIMATE  AND  USE  OF  OLD  PAINTINGS. 

He  was  fond  of  seeking  into  the  secrets  of  the  old 
painters ; and  dissected  some  of  their  performances, 
to  ascertain  their  mode  of  laying  on  color  and  fin- 
ishing with  effect.  Titian  he  conceived  to  he  the 
great  master  spirit  in  portraiture ; and  no  enthu- 
siastic ever  sought  more  incessantly  for  the  secret 
of  the  philosopher’s  stone  than  did  Reynolds  to  pos- 
sess himself  of  the  whole  theory  and  practice  of  the 
Venetian.  “ To  possess,”  said  he,  “ a real  fine  pic- 
ture by  that  great  master— 1 would  sell  all  my  gal- 
lery— I would  willingly  ruin  myself.99  The  capital 
old  paintings  of  the  Venetian  school  destroyed  by 
Sir  Joshua’s  dissections  were  not  few;  and  his  ex- 
periments of  this  kind  can  only  properly  be  likened 
to  that  of  the  boy  who  cut  open  the  bellows  to  get 
at  the  wind ! He  was  ignorant  of  chemistry,  so 
much  so  that  he  sometimes  employed  mineral  col- 
ors that  reacted  in  a short  time  ; and  also  vegetable 
colors  ; and  he  mixed  with  these  various  vehicles,  as 
megilps  and  different  kinds  of  varnishes  or  glazes, 
so  that  he  had  the  misfortune  of  seeing  some  of  his 
finest  works  change  and  lose  all  their  harmony,  or 
beconre  cracked  with  unsightly  seams.  He  kept  his 
system  of  coloring  a profound  secret.  He  lived  to 
regret  these  experiments,  and  would  never  permit 
his  pupils  to  practise  them.  His  method  has  been 
largely  imitated,  not  only  in  England,  but  in  the 
United  States,  greatly  to  the  injury  of  many  fine 


SCULPTORS,  AND  ARCHITECTS. 


211 


works  and  the  reputation  of  the  artist.  The  only 
true  method  for  excellence  and  permanence  in  color- 
ing, is  that  employed  by  the  great  Italian  masters, 
viz. : to  use  well  prepared  and  seasoned  canvas ; 
then  to  lay  on  a good  heavy  body -color  ; to  employ 
only  the  best  mineral  colors,  which  will  not  chemi- 
cally react,  giving  the  colors  time  to  harden  after 
laying  on  each  successive  coat ; and  above  all,  to  use 
no  varnishes  in  the  process,  nor  after  the  completion 
of  the  work,  till  it  is  sufficiently  hardened  by  age. 

THE  INFLUENCE  OF  THE  INQUISITION  UPON  SPANISH 
PAINTING. 

A strong  and  enthusiastic  feeling  of  a religious 
character  has  often  inspired  the  Fine  Arts:  we 
owe  to  such  sentiments  the  finest  and  purest  produc- 
tions of  modern  painting.  Progress  in  art,  however, 
implies  the  study  of  nature  ; the  study  of  nature  and 
the  exhibition  of  its  results  have  continually  shocked 
the  rigid  asceticism  of  a severe  morality — a morali- 
ty which  makes  indecency  depend  on  the  simple  fact 
of  exposure,  not  on  the  feeling  in  which  the  work 
is  conceived.  Scrupulous  persons  often  appear  un- 
conscious that  in  this,  as  in  other  things,  it  is  easy 
to  observe  the  letter,  and  to  violate  the  spirit.  A 
picture  or  statue  may  be  perfectly  decent,  so  far  as 
regards  drapery,  and  yet  suggest  thoughts  and  ideas 
far  more  objectionable  than  those  resulting  from  the 
contemplation  of  figures  wholly  unclothed.  Still,  it 
must  be  admitted  that  such  a jealousy  of  the  fine  arts 


212  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

might  reasonably  exist  in  Italy  at  the  end  of  the 
15th,  and  the  beginning  of  the  16th  centuries,  in  the 
days  of  Alexander  VI.,  Julius  II.,  and  Leo  X.; 
when  all  the  abominations  of  heathenism  prevailed 
at  Rome  in  practice,  and  when  Christianity  can 
hardly  be  said  to  have  existed  more  than  in  theory. 
It  would  have  been  strange,  amidst  such  universal 
depravity,  that  Art  should  escape  unsullied  by  the 
general  pollution.  Still,  it  was  against  the  abuses 
of  art  that  the  efforts  of  the  Catholic  church  under 
Paul  IV.  were  directed;  and  while  those  efforts 
gave  a somewhat  different  character  to  the  subjects 
and  to  their  treatment  in  later  schools,  they  cannot 
be  said  to  have  acted  on  either  Painting  or  Sculp- 
ture with  any  repressive  force. 

But  in  Spain  the  case  was  wholly  different. 
There  was  no  transient  insurrection  of  a purer 
morality  against  the  vicious  extravagancies  of  a 
particular  period,  but  a constant  and  uniform  pres- 
sure exerted  without  intermission  on  all  the  means 
of  developing  and  cultivating  the  human  mind,  or 
of  imparting  its  sentiments  to  others.  Painting  and 
Sculpture  came  in  for  their  share  of  restriction,  and 
the  nature  of  the  discipline  to  which  they  were  sub- 
jected may  be  gathered  from  the  work  of  Pacheco, 
(Arte  de  la  Pintura)  who  was  appointed  in  1618, 
by  a particular  commission  from  the  Inquisition,  “ to 
denounce  the  errors  committed  in  pictures  of  sacred 
subjects  through  the  ignorance  or  wickedness  of 
artists.”  He  was  commissioned  to  “ take  particular 


SCULPTORS,  AND  ARCHITECTS. 


213 


care  to  visit  and  inspect  the  paintings  of  sacred 
subjects  which  may  stand  in  the  public  places  of 
Seville,  and  if  anything  objectionable  appeared  in 
them,  to  take  them  before  the  Inquisition.”  His 
rules,  therefore,  may  properly  be  received  as  a fair 
exponent  of  the  strictures  placed  upon  Art  by  the 
Inquisition.  In  his  work  upon  the  Art  of  Painting, 
Pacheco  censures  the  nudity  of  the  figures  in  Michael 
Angelo’s  Last  Judgment,  as  well  as  other  things. 
Thus  he  says : “ As  to  placing  the  damned  in  the  air, 
fighting  as  they  are  one  with  another,  and  pulling 
against  the  devils,  when  it  is  matter  of  faith  that  they 
must  want  the  free  gifts  of  glory,  and  cannot,  there- 
fore, possess  the  requisite  lightness  or  agility — the 
impropriety  of  this  mode  of  exhibiting  them  is  self- 
evident.  With  regard,  again,  to  the  angels  without 
wings  and  the  saints  without  clothes,  although  the 
former  do  not  possess  the  one  and  the  latter  will  not 
have  the  other,  yet,  as  angels  without  wings  are  un- 
known to  us,  and  our  eyes  do  not  allow  us  to  see  the 
saints  without  clothes,  as  we  shall  hereafter — there 
can  be  no  doubt,  that  this  again  is  improper.  It  is, 
moreover,  highly  indecent  and  improper,  having 
regard  to  their  nature,  to  paint  angels  with  beards.” 
On  the  general  question  of  hovr  an  artist  is  to  ac- 
quire sufficient  skill  in  the  figure,  without  exposing 
himself  to  risks  which  the  Inspector  of  the  Inqui- 
sition is  bound  to  deprecate,  Pacheco  is  somewhat 
embarrassed.  “ I seem,”  he  says,  “ to  hear  some 
one  asking  me,  ‘ Senor  Painter,  scrupulous  as  you 


214  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

are,  whilst  you  place  before  us  the  ancient  artists  as 
examples,  who  contemplated  the  figures  of  naked 
women  in  order  to  imitate  them  perfectly,  and  whilst 
you  charge  us  to  paint  as  well,  what  resource  do 
you  afford  us  V I would  answer,  c Senor  Licenti- 
ate, this  is  what  I would  do  ; I would  paint  the 
faces  and  hands  from  nature,  with  the  requisite 
beauty  and  variety,  after  women  of  good  character ; 
in  wThich,  in  my  opinion,  there  is  no  danger.  With 
regard  to  the  other  parts,  I would  avail  myself  of 
good  pictures,  engravings,  drawings,  models,  an- 
cient and  modern  statues,  and  the  excellent  designs 
of  Albert  Durer,  so  that  I might  choose  what  was 
most  graceful  and  best  composed  without  running 
into  danger.’  ” So  it  appears  that  they  might 
profit  by  the  wofks  of  other  sinners,  without  in- 
curring the  same  danger. 

Notwithstanding  this  advice,  as  the  Inquisition 
always  persecuted  nudity,  Spain  was  deficient  in 
models  from  the  antique ; wherefore  Velasquez,  the 
head  of  the  Spanish  school,  never  designed  an  ex- 
quisite figure ; and  the  collection  of  models  and 
casts  which  he  made  in  Italy,  late  in  life,  was 
allowed  to  go  to  destruction  after  his  death  ! 

In  discussing  the  proper  mode  of  painting  the 
Nativity  of  Christ,  Pacheco  says  he  is  always  much 
affected  at  seeing  the  infant  Jesus  represented  naked 
in  the  arms  of  his  mother ! The  impropriety  of 
this,  he  urges,  is  shown  by  the  consideration  that 


SCULPTORS,  AND  ARCHITECTS. 


215 


u St.  Joseph  had  an  office,  and  it  was  not  possible  that 
poverty  could  have  obliged  him  to  forego  those 
comforts  for  his  child,  which  scarcely  the  meanest 
beggar  sare  without.”  Another  fertile  subject  of 
dispute  among  the  Spanish  artists  and  theologians, 
was  the  number  of  nails  used  in  the  Crucifixion, 
some  arguing  for  three,  and  some  for  four,  and 
drawing  their  proofs  on  either  side  from  the  vision 
of  some  saint ! 

The  precepts  as  to  the  proper  modes  of  painting 
the  Virgin,  are  innumerable.  The  greatest  caution 
against  any  approach  to  nudity  is  of  course  requi- 
site. Nay,  Pacheco  says,  “ What  can  be  more  for- 
eign from  the  respect  which  we  owe  to  the  purity 
of  Our  Lady  the  Virgin,  than  to  paint  her  sitting 
down,  with  one  of  her  knees  placed  over  the  other, 
and  often  with  her  sacred  feet  uncovered  and  na- 
ked?” We  scarcely  ever,  therefore,  see  the  feet  of 
the  Virgin  in  Spanish  pictures.  Carducho  speaks 
more  particularly  on  the  impropriety  of  painting 
the  Virgin  unshod,  since  it  is  manifest  that  she  was 
in  the  habit  of  wearing  shoes,  as  is  proved  by  “ the 
much  venerated  relic  of  one  of  them,  from  her  di- 
vine feet,  in  the  Cathedral  of  Burgos !” 

A painter  had  a penance  inflicted  on  him  at  Cor- 
dova, for  painting  the  Virgin  at  the  foot  of  the 
Cross  in  a hooped  petticoat,  pointed  boddice,  and  a 
saffron-colored  head-dress ; St.  John  had  pantaloons, 
and  a doublet  with  points.  This  chastisement  Pa- 
checo considers  richly  deserved.  Don  Luis  Pas- 


216  ANECDOTES  OE  PAINTERS,  ENGRAVERS, 

qual  also  erred  greatly,  in  his  Marriage  of  the  Vir- 
gin, representing  her  without  any  mantle,  in  a Vene- 
tian petticoat,  fitting  very  close  in  the  waist,  covered 
with  knots  of  colored  ribbon,  and  with  wide  round 
sleeves, — “ a dress,”  adds  Pacheco,  “ in  my  opinion 
highly  unbecoming  the  gravity  and  dignity  of  our 
Sovereign  Lady.”  Nor  were  there  wanting  awful 
examples  of  warning  to  painters,  as  in  the  story  re- 
lated by  Martin  de  Roa,  in  his  State  of  Souls  in 
Purgatory . “ A painter,”  so  runs  the  legend,  “ had 
executed  in  youth,  at  the  request  of  a gentleman,  an 
improper  picture.  After  the  painter’s  death,  this 
picture  was  laid  to  his  charge,  and  it  was  only  by 
the  intercession  of  those  Saints  whom  he  had  at 
various  times  painted,  that  he  got  off  with  severe 
torments  in  Purgatory.  Whilst  there,  however,  he 
contrived  to  appear  to  his  confessor,  and  prevailed 
upon  him  to  go  to  the  gentleman  for  whom  this  pic- 
ture was  painted,  and  entreat  him  to  burn  it.  The 
request  was  complied  with,  and  the  painter  then  got 
out  of  Purgatory!” 

The  author  cannot  close  this  too  lengthy  article 
without  citing  the  Life  of  the  Virgin  written  by 
Maria  de  Agreda,  whose  absurd  and  blasphemous 
vagaries  were  “ swallowed  whole”  by  the  Spanish 
nation — an  unanswerable  proof  and  a fitting  result 
of  the  blight  inflicted  by  Jesuitism  and  the  Inquisi- 
tion. Bayle  says,  “ the  only  wonder  is,  that  the 
Sorbonne  confined  itself  to  saying  that  her  proposi- 
tion was  false,  rash,  and  contrary  to  the  doctrines 


SCULPTORS,  AND  ARCHITECTS. 


217 


of  the  Gospel,  when  she  taught  that  God  gave  the 
Virgin  all  he  could,  and  that  he  could  give  her  all 
his  own  attributes,  except  the  essence  of  the  God- 
head.” The  condemnation  of  Maria  de  Agreda’s 
Life  of  the  Virgin  was  not  carried  in  the  Sorbonne 
without  the  greatest  opposition  and  tumult.  The 
hook  was  censured  at  Lome,  notwithstanding  all 
the  efforts  of  the  Spanish  ambassador.  The  Span- 
ish feeling,  with  reference  to  the  Virgin,  and  more 
particularly  to  the  doctrine  of  the  Immaculate  Con- 
ception, went  far  beyond  the  rest  of  Papal  Europe  ; 
it  was  impossible  for  the  Pope  and  the  French 
Church  to  sanction  at  once  the  absurdities  that 
Spain  was  quite  ready  to  adopt.  (See  Sir  Edmund 
Head’s  Hand-Book  of  the  History  of  the  Spanish 
and  French  Schools  of  Painting.) 

A MELANCHOLY  PICTURE  OF  THE  STATE  OF  THE 
FINE  ARTS  IN  SPAIN. 

A most  interesting  article  on  the  present  state  of 
the  fine  arts  in  Spain,  may  be  found  in  the  Appendix 
to  Sir  Edmund  Head’s  Hand-Book  of  the  History  of 
the  Spanish  and  French  Schools  of  Painting.  On 
the  13th  of  June,  1844,  a Royal  ordinance  was  is- 
sued, establishing  a Central  Commission  “ deMonu- 
mentos  Historicos  y Artisticos  del  Reino,”  with 
local  or  provincial  commissions,  to  act  in  concert 
with  the  former  body.  The  chief  object  of  the 
Commission  was  to  report  upon  the  condition  of 
works  of  art,  antiquities,  libraries,  etc.,  contained  in 


—218  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

the  numerous  convents  and  monasteries,  which  had 
been  suppressed,  and  what  measures  had  been 
adopted  for  their  preservation.  The  members  of  the 
Commission  were  divided  into  three  sections,  one  for 
libraries  and  archives,  another  for  painting  and  sculp- 
ture, and  a third  for  architecture  and  archaeology. 

The  first  annual  report  of  the  Central  Commis- 
sion to  the  Secretary  of  State  for  the  Home  De- 
partment is  printed  in  pamphlet  form,  and  em- 
braces the  proceedings  of  the  Commission  from 
July  1st,  1844,  to  July  l^t,  1845. 

“Nothing  can  be  more  melancholy  than  the  pic- 
ture of  Spain  drawn  by  this  Commission.  They 
tell  us  that  the  most  valuable  contents  of  the  con- 
ventual libraries  had  been  thrown  away  or  mutila- 
ted, and  that  thousands  of  volumes  had  been  sold 
as  waste  paper  for  three  or  four  reals  the  arroba, 
and  had  been  exported  to  enrich  foreign  libraries. 
A hope  had  been  entertained  of  forming  collections 
in  each  province,  of  pictures  and  other  works  of  art ; 
the  Commission  was  soon  undeceived  as  to  the  pos- 
sibility of  effecting  this.  Baron  Taylor  and  a host  of 
foreign  dealers  had  in  some  provinces  carried  off  all 
they  could  lay  their  hands  upon  ; in  others  the  Com- 
missioners tell  us,  c Many  of  the  most  esteemed 
works  of  art,  the  glory  and  ornament  of  the  most 
sumptuous  churches,  had  perished  in  their  applica- 
tion to  the  vilest  uses ; in  others  scarcely  any  record 
was  preserved  of  what  had  been  in  existence  at  the 
time  of  the  dissolution  of  the  monasteries,  and  no 


SCULPTORS,  AND  ARCHITECTS. 


219 


inventory  or  catalogue  of  any  kind  had  been 
made.’  Our  only  consolation  perhaps  is  that  these 
books  and  works  of  art  will  be  better  appreci- 
ated in  other  countries,  and  we  may  derive  com- 
fort from  the  views  expressed  by  Madame  Hahn- 
Hahn.* 

“ It  is  clear  that  in  such  a state  of  things  the  plun- 
der and  destruction  of  pictures  must  have  been  enor- 
mous. In  the  summary  of  the  proceedings  of  the 
Commission  with  reference  to  pictures,  which  I shall 


* "I  cannot  forbear  quoting  Madame  Halm-Halm’s  reflections  on 
the  Museum  of  Seville,  and  the  custody  of  pictures  in  that  city  in 
1841: 

‘“It  is  wretched  to  see  how  these  invaluable  jewels  of  pictures 
ore  preserved  I Uncleaned1  (this  is  at  least  some  comfort),  ‘with- 
out the  necessary  varnish,  sometimes  without  frames,  they  lean 
against  the  walls,  or  stand  unprotected  in  the  passages  where  they 
are  copied.  Every  dauber  may  mark  his  squares  upon  them,  to  fa- 
cilitate his  drawing;  and  since  these  squares  are  permanent  in  some 
pictures  in  order  to  spare  these  admirable  artists  the  trouble  of  re- 
newing them,  the  threads  have,  in  certain  cases,  begun  to  leave  t'heir 
impression  on  the  picture.  The  proof  of  this  negligence  is  the  fact 
that  we  found  to-day  the  mark  of  a finger-nail  on  the  St.  Augustine, 
which  was  not  there  on  the  first  day  that  we  saw  it.  We  can  only 
thank  G-od  if  nothing  worse  than  a finger-nail  make  a scar  on  the 
picture ! It  stands  there  on  the  ground,  without  a frame,  leaning 
against  the  wall.  One  might  knock  it  over,  or  kick  one’s  foot 
through  it ! There  is  to  be  sure  a kind  of  ragged  custode  sitting  by, 
but  if  one  were  to  give  him  a couple  of  dollars  he  would  hold  his 
tongue ; he  is,  moreover,  always  sleeping,  and  yawns  as  if  he  would 
put  his  jaws  out.  He  does  not  forget,  however,  on  these  occasions 
to  make  the  sign  of  the  cross  with  his  thumb,  opposite  his  open 
mouth,  for  fear  the  devils  should  fly  in — such  is  the  common  belief. 
You  see  clearly  that  with  this  amount  of  neglect  and  want  of  order, 
the  same  fate  awaits  all  the  Murillos  here  as  has  already  befallen 
Leonardo’s  Last  Supper  at  Milan.  These  are  all  collected  in  two  public 
buidings,  in  the  church  of  the  Oaridad  and  in  the  Museum. 


220  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

proceed  to  give,  the  reader  will  see  that  all  sorts  of 
obstacles  to  any  claim  of  the  central  government 
were  raised  by  the  local  authorities ; such  a course 
was  sometimes  no  doubt  the  result  of  genuine  Span- 
ish obstinacy,  strong  in  local  attachments,  and  hating 
all  interference ; but  it  too  often  probably  originated 
in  the  desire  to  conceal  peculation  and  robbery  on 
the  part  of  the  alcalde,  or  the  parish  priest,  or  the 
sacristan,  or  the  porter  of  a suppressed  convent. 
Let  us  remember  that  in  all  probability  no  one  of 
these  functionaries  ever  received  the  salary  which 
was  due  to  him,  and  that  the  unfortunate  monks 
turned  out  of  their  convents  had  neither  interest 
nor  duty  in  protecting  what  had  ceased  to  be 
theirs.  If  they  did  not  (as  it  may  be  hoped) 


‘ The  Caridad  was  a hospital  or  charitable  institution.  The  pictures 
were  brought  thither  from  Murillo's  own  studio;  there  are  five — 
Moses,  the-  Feeding  of  the  Five  Thousand,  the  St.  Juan  de  Dios,  a 
little  Salvator  Mundi,  and  a small  John  the  Baptist ; the  sixth,  the 
pendarnt  to  the  St.  Juan  de  Dios,  the  St.  Elizabeth  with  the  Sick,  has 
been  carried  to  the  Museum  at  Madrid.  It  is  very  questionable 
whether  these  fine  pictures  will  be  still  in  the  Caridad  in  ten  years’ 
time.  Nothing  would  be  easier  than  to  smuggle  out  the  two  small 
pictures ! A painter  comes — co;  ies  them— does  not  stand  upon  a 
few  dollars  more  or  less — takes  off  the  originals  and  leaves  the  cop- 
ies behind  in  their  places,  which  are  high  up  and  badly  lighted — the 
pictures  are  gone  for  ever  I This  sort  of  proceeding  is  not  impossi- 
ble here,  and  Baron  Taylor's  purchases  for  Paris  prove  the  fact.  It 
cannot  of  course  be  done  without  corruption  and  connivance  on  the 
part  of  the  official  guardians ; and  after  all  one  has  hardly  the  cour- 
age to  lament  it.  The  pictures  are,  in  fact,  saved — they  are  pro- 
tected and  duly  valued;  whilst  to  me  it  is  completely  a matter  of 
indifference  whether  a custode,  on  account  of  this  sort  of  sin,  suffer 
a little  more  or  a little  less  in  Purgatory.’” — Reisebriefe,  ii.  s. 
126-8. 


SCULPTORS,  AND  ARCHITECTS. 


•221 


themselves  carry  off  what  they  could,  they 
would  abandon  it  to  the  first  plunderer.  Added 
to  which,  the  habitual  feeling  of  every  Spa- 
niard is,  that  what  belongs  to  the  government 
is  fair  game,  and  may  be  stolen  with  a safe  con- 
science. 

“ When  all  this  is  considered,  it  will  not  appear 
surprising  that  bribery  and  robbery  should  have 
stripped  the  deserted  convents,  and  scattered  the 
memorials  of  Spanish  art  and  literature.  It  is 
greatly  to  be  feared  too  that  the  ignorance  of  the 
local  commissioners  will  cause  many  an  interesting 
picture  of  early  date  to  be  thrown  on  one  side  as 
barbarous  and  rude,  and  that  few  such  valuable 
records  as  the  altar  of  the  time  of  Don  Jay  me  el 
Conquistador,  mentioned  as  rescued  at  Yalencia, 
will  be  preserved  at  all;  indifferent  second-rate 
copies,  or  imitations  of  the  Italian  and  Flemish 
masters,  will  probably  pass  current  as  the  staple 
article  in  most  of  the  provincial  museums,  even 
where  such  institutions  are  finally  formed.  At  any 
rate,  as  a picture  of  the  state  of  Spain  with  refer- 
ence to  the  Fine  Arts,  and  as  a sort  of  guide  to 
tourists,  it  may  be  useful  to  give,  in  alphabetical 
order,  as  they  are  enumerated  in  the  report,  an 
abstract  of  the  general  result  as  to  the  number  of 
paintings  got  together  in  each  province. 

Here  follows  the  result  of  the  labors  of  the  Com- 
mission in  forty-eight  provinces,  alphabetically  ar- 
ranged, presenting  a sorry  picture  indeed.  Only 


222  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

a few  of  them  can  be  given  here,  which  may  he 

taken  as  specimens  of  the  whole : 

44  Almeria. — Here  the  existence  of  any  local  collec- 
tion was  denied,  but  accidentally  a catalogue  was 
discovered  containing  a list  of  one  hundred  and 
ninety-six  pictures,  which  had  been  got  together . 
in  1837,  and  had  apparently  disappeared. 

44  Burgos . — The  Commissioners  say,  4 On  seeing 
the  small  number  of  works  of  art  in  the  province 
of  Burgos,  and  after  examining  carefully  the 
communication  of  the  44  Gefe  Politico,”  dated 
in  April,  1844,  together  with  the  inventory  which 
accompanied  it,  containing  only  sixty-nine  pic- 
tures and  thirteen  coins,  deposited  in  the  Lite- 
rary Institution  of  the  capital  of  the  province,  we 
could  not  refrain  from  signifying  our  surprise  at 
finding  so  poor  a museum  in  a province  which 
was  at  one  time  one  of  the  richest  in  Spain  in 
monasteries.’ 

44  Cdceres. — Here  again  the  Central  Commission 
could  get  no  account  of  the  works  of  art  which 
were  known  to  have  existed,  more  especially  in 
the  magnificent  Hieronymite  Monastery  of  Gua- 
dalupe, near  Logrosan.  The  Provincial  Commis- 
sion, acting  on  the  authority  of  that  in  Madrid, 
proceeded  to  ascertain  what  still  remained  with- 
in the  walls  of  the  convent,  when  they  were  re- 
sisted by  the  4 AyuntamienW  of  the  town  of 
Guadalupe,  who  pretended  that  all  that  was  in 


SCULPTORS,  AND  ARCHITECTS. 


223 


the  church  and  convent  belonged  to  the  parish, 
and  not  to  the  state. 

“Cadiz. — Those  who  first  collected  the  pictures 
took  care  to  catalogue  them  without  giving  the 
subjects  or  the  sizes,  and  mixed  up  together  paint- 
ings and  prints,  so  that  it  was  impossible  to  say 
what  had  been  stolen.  The  report  goes  on  to 
say  that  the  sale  of  certain  pictures  was  not  less 
irregular  and  culpable  in  itself,  than  the  lawful- 
ness of  the  manner  in  which  the  produce  of  the 
sale  was  applied  appeared  doubtful.  The  Local 
Commission  of  Arts  and  Sciences  thought  it  pru- 
dent to  abstain  from  criminal  proceedings  against 
any  one ; but  the  pictures  yet  remaining  were  in 
such  a state  of  decay  that  to  protect  themselves 
they  caused  a proces  verbal  to  be  drawn  up,  set- 
ting forth  their  condition. 

“ Cuenca . — All  sorts  of  plunder  had  gone  on  here, 
as  elsewhere,  but  the  Local  Commissioners  seem 
to  have  exerted  themselves  to  rescue  and  place  in 
safety  what  could  yet  be  secured.  The  head  of 
the  Priory  of  Santiago  de  Ucles  resisted  them. 
The  number  of  pictures  collected  is  not  given. 

“ Gerona .■ — In  August,  1842,  the  6 Gefe  Politico’ 
reported  the  existence  of  certain  pictures,  as  he 
said,  of  little  merit ; but,  bad  or  good,  they  seem 
to  have  disappeared  by  1845. 

“ Granada . — Here  a museum  was  formed  in  1839, 
and  in  1842,  a catalogue  of  eight  hundred  and 
eighty-four  pieces  of  sculpture  and  painting  was 


224  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

transmitted  to  the  Secretary  of  State.  By  Janu- 
ary, 1844,  it  would  appear  that  some,  probably 
many,  of  them  had  been  stolen,  and  the  report 
does  not  tell  us  how  many  remained. 

44  Guadalajara. — It  appears  that  out  of  four  hun- 
dred and  thirty  pictures,  a few  only  were  con- 
sidered to  be  originals  of  any  value,  and  were  at- 
tributed to  Ribera,  Zurbaran,  Carreno,  el  Greco, 
and  others,  for  the  most  part  Spanish  masters. 
Twenty-five  were  completely  ruined. 

44  Guipuzcoa. — The  civil  war  in  this  province  has 
been  the  cause  and  the  pretext  for  the  disappear- 
ance of  many  works  of  art.  4 Since,’  says  the  re- 
port, 4 whilst  many  have  been  destroyed  on  the 
one  hand,  on  the  other  the  state  of  affairs  has 
thrown  a shield  over  those  who  have  profited  by 
the  confusion,  and  have  unjustly  appropriated  the 
property  of  the  state.’ 

44  Jaen. — The  Local  Commission  of  Jaen  in  the 
course  of  nine  months  got  together  five  hundred 
and  twenty-three  pictures,  of  which  they  reported 
two  hundred  and  eighty^five  as  worthless,  and 
placed  two  hundred  and  thirty-eight  in  the  old 
Jesuit  convent.  The  names  of  Murillo,  Zurba- 
ran, Alonso  Cano,  Castillo,  Orrente,  Melgar,  Juan 
de  Sevilla,  Guzman,  Coello,  Titian,  el  Greco,  and 
Albano,  appear  in  the  catalogue. 

44  Leon. — 4 The  necessity,’  says  the  report,  4 of  quar- 
tering troops  in  the  various  convents  of  this  pro- 
vince, and  the  scandalous  tricks  which  we  know 


SCULPTORS,  AND  ARCHITECTS. 


225 


to  have  been  played  with  the  works  of  art  in  the 
same,  are  the  causes  why  the  catalogue,  which 
was  framed  in  September  of  last  year,  appeared 
so  imperfect  and  so  scanty,  since  the  number  of 
objects  was  reduced  to  sixty-one  pictures  and 
three  pieces  of  sculpture,  deposited  in  the  con- 
vent of  the  so-called  “ Monjas  Catalinas.”  ’ No 
more  favorable  account  seems  to  have  been  re- 
ceived at  the  time  the  report  was  drawn  up. 

“ Ltrida. — Here  too  the  civil  war  is  said  to  have 
caused  the  disappearance  of  most  of  the  pictures 
in  the  convents ; only  eighteen  of  any  merit  had 
been  collected  in  April,  1844,  but  some  more  were 
known  to  exist  in  the  Seo  de  Urgel,  where  the  lo- 
cal authorities  however  refused  to  give  them  up 
to  the  government.  The  Commission  had  not 
been  able  to  obtain  an  accurate  account  even  of 
the  eighteen. 

“Malaga.- — A miserable  return  of  six  pieces 
sculpture  and  four  pictures  was  all  that  could 
be  obtained  by  the  Central  Commission,  and 
they  attribute  this  result  to  4 the  natural  in- 
dolence and  purely  mercantile  spirit  of  that  dis- 
trict.5 Probably  the  facility  for  exportation  had 
a good  deal  to  do  with  the  disappearance  of  the 
various  works  of  art  which  the  report  affirms  to 
have  been  once  collected  and  deposited  in  various 
public  buildings.” 


226  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

DON  DIEGO  VELASQUEZ. 

This  great  painter,  justly  esteemed  the  head  of 
the  Spanish  school,  was  born  at  Seville  in  1594.  He 
pursued  almost  every  branch  of  painting,  except 
the  marine,  and  excelled  almost  equally  in  all. — 
Philip  IY.  conferred  on  him  extraordinary  honors, 
appointed  him  his  principal  painter,  and  ordained 
that  none  but  the  modern  Apelles  should  paint  his 
likeness.  When  Rubens  visited  Madrid  in  1627,  to 
discharge  the  duties  of  his  embassy,  he  formed  an 
intimate  and  lasting  friendship  with  Velasquez, 
which  continued  through  life.  “ There  is  some- 
thing in  the  history  of  this  painter,55  says  Mrs. 
Jameson,  “ which  fills  the  imagination  like  a gorge- 
ous romance.  In  the  very  sound  of  his  name,  Don 
Diego  Rodriguez  'Velasquez  de  Silva — there  is  some- 
thing mouth-filling  and  magnificent.  When  we 
read  of  his  fine  chivalrous  qualities,  his  noble  birth, 
his  riches,  his  palaces,  his  orders  of  knighthood, 
and  what  is  most  rare,  the  warm,  real,  steady 
friendship  of  a king,  and  added  to  this  a long  life, 
crowned  with  genius,  felicity,  and  fame,  it  seems  al- 
most beyond  the  lot  of  humanity.  I know  of  no- 
thing to  be  compared  with  it  but  the  history  of 
Rubens,  his  friend  and  cotemporary,  whom  he  re- 
sembled in  character  and  fortune,  and  in  that 
union  of  rare  talents  with  practical  good  sense 
which  ensures  success  in  life.”  For  a full  life  of 
this  painter,  see  Spooner’s  Dictionary  of  Painters, 
Engravers,  Sculptors,  and  Architects. 


SCULPTORS,  AND  ARCHITECTS. 


227 


VELASQUEZ  HONORED  BY  THE  KING  OF  SPAIN. 

Philip  IV.  relaxed  the  rigor  of  Spanish  etiquette 
in  favor  of  Velasquez,  as  Charles  Y.  had  done  with 
Titian.  He  had  his  studio  in  the  royal  palace,  and 
the  King  kept  a private  key,  by  means  of  which 
he  had  access  to  it  whenever  he  pleased.  Almost 
every  day  Philip  used  to  visit  the  artist,  and  would 
sit  and  watch  him  while  at  work.  When  Velasquez 
produced  his  celebrated  picture  of  the  Infanta  Mar- 
garita surrounded  by  her  maids  of  honor,  with  a 
portrait  of  himself,  standing  near  at  his  easel,  the 
King  conferred  upon  him  a very  unusual  honor. 
After  the  picture  had  been  greatly  admired,  Philip 
remarked,  “ There  is  one  thing  wanting,”  and  ta- 
king the  palette  and  pencils,  he  drew  in  with  his 
own  hand  upon  the  breast  of  Velasquez’s  portrait, 
the  much  coveted  Cross  of  Santiago  ! The  nobles 
resented  this  profanation  of  a decoration  hitherto 
only  given  to  high  birth ; but  all  difficulties  were 
removed  by  a papal  dispensation  and  a grant  of 
Hidalguia . V elasquez’s  portraits  baffle  description 
or  praise — they  produce  complete  illusion,  and  must 
be  seen  to  be  known.  He  depicted  the  minds  of  men ; 
they  live,  breathe,  and  seem  about  to  walk  out  of 
their  frames.  The  freshness,  individuality,  and  iden- 
tity of  every  person  are  quite  startling ; nor  can  we 
doubt  the  anecdote  related  of  Philip  IV.,  who,  mis- 
taking for  the  original  the  portrait  of  Admiral  Pa- 
rejain  a dark  corner  of  Velasquez’s  room,  exclaimed, 
as  he  had  been  ordered  to  sea,  “ What ! still  here  ? 


228  ANECDOTES  OE  PAINTERS,  ENGRAVERS, 

Did  I not  send  thee  off?  How  is  it  that  thou  art 
not  gone  ?”  But  seeing  the  figure  did  not  salute 
him,  the  King  discovered  his  mistake.  While  Ve- 
lasquez sojourned  in  Rome,  he  painted  the  portrait 
of  Innocent  X.,  'which  is  now  the  gem  of  the  Doria 
collection,  and  in  which,  says  Lanzi,  “he  renewed 
the  wonders  which  are  recounted  of  those  of  Leo 
X.  by  Raffaelle,  and  Paul  III.  by  Titian ; for  this 
picture  so  entirely  deceived  the  eye  as  to  be  taken 
for  the  Pope  himself.” 

Velasquez’s  slave. 

Juan  de  Pareja  was  the  slave  of  Don  Diego  Ve- 
lasquez. Palomino  and  others,  say  he  was  born  in 
Mexico,  of  a Spanish  father  and  Indian  mother ; 
but  Bermudez  says  he  was  born  at  Seville.  From 
being  employed  in  his  master’s  studio  to  attend  on 
him,  grind  his  colors,  clean  his  palette,  brushes,  &c., 
he  imbibed  a passion  for  painting,  and  sought  every 
opportunity  to  practise  during  his  master’s  absence. 
He  spent  whole  nights  in  drawing  and  endeavoring 
to  imitate  him,  for  he  durst  not  let  him  know  of  his 
aspiring  dreams.  At  length  he  had  made  such  pro- 
ficiencf , that  he  resolved  to  lay  his  case  before  the 
King,  Philip  IV.,  who  was  not  only  an  excellent 
judge,  but  a true  lover  of  art.  It  was  the  King’s 
custom  to  resort  frequently  to  the  apartments  of 
Velasquez  and  to  order  those  pictures  which  were 
placed  with  the  painted  side  to  the  wall,  to  be  turned 
to  his  view.  Pareja  placed  one  of  his  own  produc- 


SCULPTORS,  AND  ARCHITECTS. 


229 


tions  in  that  position,  which  the  King’s  curiosity 
caused  to  he  turned,  when  the  slave  fell  on  his 
knees  and  besought  the  monarch  to  obtain  his 
pardon  from  his  master,  for  having  presumed  to 
practise  painting  without  his  approbation.  Philip, 
agreeably  surprised  at  his  address,  and  well  pleased 
with  the  work,  bid  Pareja  to  rest  contented.  He  in- 
terceded in  his  behalf,  and  Yelasquez  not  only  for- 
gave him,  but  emancipated  him  from  servitude ; yet 
such  was  his  attachment  and  gratitude  to  his  mas- 
ter, that  he  would  never  leave  him  till  his  death,  and 
afterwards  continued  to  serve  his  daughter  with  the 
same  fidelity.  He  is  said  to  have  painted  portraits 
so  much  in  the  style  of  Yelasquez,  that  they  could 
not  easily  be  distinguished  from  his  works.  He  also 
painted  some  historical  works,  as  the  Calling  of  St. 
Matthew,  at  Aranjuez ; the  Baptism  of  Christ,  at 
Toledo,  and  some  Saints  at  Madrid. 

LITIS  TRISTAN-. 

This  eminent  Spanish  painter  was  born  near  To- 
ledo, according  to  Palomino,  in  1594,  though  Ber- 
mudez says  in  1586.  He  was  a pupil  of  El  Greco., 
whom  he  surpassed  in  design  and  purity  of  taste. 
His  instructor,  far  from  being  jealous  of  his  talents, 
was  the  first  to  applaud  his  works,  and  to  commend 
him  to  the  public.  He  executed  many  admirable 
works  for  the  churches  and  public  edifices  at  Toledo 
and  Madrid.  It  is  no  mean  proof  of  his  ability, 
that  Yelasquez  professed  himself  his  admirer,  and 


230 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


quitting  the  precepts  of  Pacheco,  he  formed  his 
style  from  the  works  of  Tristan. 

TRISTAN  AND  EL  GRECO. 

Tristan  was  the  favorite  pupil  of  El  Greco,  to 
whom  his  master  made  over  many  commissions, 
which  he  was  unable  to  execute  himself.  In  this 
manner  he  was  employed  to  paint  the  Last  Supper, 
for  the  Hieronymite  monastery  of  La  Sisla.  The 
monks  liked  the  picture  ; but  they  thought  the  price 
which  the  artist  asked  for  it,  of  two  hundred  ducats, 
excessive.  They  therefore  sent  for  El  Greco  to 
value  it ; but  when  this  master  saw  his  pupil’s  work, 
he  raised  his  stick  and  ran  at  him,  calling  him  a 
scoundrel  and  a disgrace  to  his  profession.  The 
monks  restrained  the  angry  painter,  and  soothed 
him  by  saying  that  the  young  man  did  not  know  what 
he  asked,  and  no  doubt  would  submit  to  the  opinion 
of  his  master.  “ In  good  truth,”  returned  El  Greco, 
“ he  does  not  know  what  he  has  asked ; and  if  he  does 
not  get  five  hundred  ducats  for  the  picture,  I desire 
it  may  be  rolled  up  and  sent  to  my  house.”  The 
Hieronymites  were  compelled  to  pay  the  larger  sum ! 

ALONSO  CANO. 

This  eminent  Spanish  painter,  sculptor,  and  ar- 
chitect, was  born  at  Granada,  according  to  Bermu- 
dez, in  1601.  He  early  showed  a passion  for  the 
fine  arts,  and  exhibited  extraordinary  talents.  He 


SCULPTORS,  AND  ARCHITECTS. 


231 


excelled  in  all  the  three  sister  arts,  particularly  in 
painting.  There  are  many  excellent  works  by  Cano 
in  the  churches  and  public  edifices  at  Cordova, 
Madrid,  Granada,  and  Seville,  which  rank  him 
among  the  greatest  Spanish  painters.  As  a sculp- 
tor, he  manifested  great  abilities,  and  executed  many 
fine  works,  which  excited  universal  admiration.  ITe 
also  gained  considerable  reputation  as  an  architect, 
and  was  appointed  architect  and  painter  to  the  king. 

CANO’S  LIBERALITY. 

Cano  executed  many  works  for  the  churches  and 
convents  gratuitously.  When  he  was  young,  he 
painted  many  pictures  for  the  public  places  of  Se- 
ville, which  were  regarded  as  astonishing  perform- 
ances. For  these  he  would  receive  no  remunera- 
tion, declaring  that  he  considered  them  unfinished 
and  deficient,  and  that  he  wrought  for  practice  and 
improvement. 

CANO’S  ECCENTRICITIES. 

Palomino  relates  several  characteristic  anecdotes 
of  Cano.  An  Auditor  of  the  Chancery  of  Granada 
bore  especial  devotion  to  St.  Anthony  of  Padua, 
and  wished  for  an  image  of  that  saint  from  the  hands 
of  Cano.  When  the  figure  was  finished,  the  judge 
liked  it  much.  He  inquired  what  money  the  artist 
expected  for  it:  the  answer  was,  one  hundred 
doubloons.  The  amateur  was  astonished,  and  ask- 
ed, “ How  many  days  he  might  have  spent  upon 


232  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

it?”  Cano  replied,  “ Some  five-and-twenty  days.” 
“Well,”  said  the  Auditor,  “that  coines  to  four 
doubloons  per  day.”  “ Your  lordship  reckons 
wrong,”  said  Cano,  “ for  I have  spent  fifty  years  in 
learning  to  execute  it  in  twenty-five  days.”  “ That 
is  all  very  well,  but  I have  spent  my  patrimony  and 
my  youth  in  studying  at  the  University,  and  in  a 
higher  profession ; now  here  I am,  Auditor  in  Gra- 
nada, and  if  I get  a doubloon  a day,  it  is  as  much 
as  I do.”  Cano  had  scarce  patience  to  hear  him 
out.  “ A higher  profession,  indeed  !”  he  exclaimed ; 
“ the  king  can  make  judges  out  of  the  dust  of  the 
earth,  but  it  is  reserved  for  God  alone  to  make  an 
Alonso  Cano.”  Saying  this,  he  took  up  the  figure 
and  dashed  it  to  pieces  on  the  pavement ; where- 
upon the  Auditor  escaped  as  fast  as  he  could,  not 
feeling  sure  that  Cano’s  fury  would  confine  itself  to 
the  statue. 

CANO’S  HATRED  OF  THE  JEWS. 

Another  characteristic  of  Cano,  was  his  insupera- 
ble repugnance  for  any  persons  tainted  with  Juda- 
ism. It  appears  that  in  Granada  the  unhappy  per- 
sons of  that  nation  who  were  peniteyiciados  (i.e.  who 
had  been  subjected  to  penance  by  the  Inquisition) 
were  in  the  habit  of  getting  what  they  could  to  sup- 
port themselves,  by  selling  linen  and  other  articles 
about  the  streets ; they  wore  of  course  the  sarnie- 
nito , or  habit  prescribed  by  the  Inquisition  as  the 
mark  of  their  penance.  If  Cano  met  one  of  these 


SCULPTORS,  AND  ARCHITECTS. 


233 


men  in  the  street,  he  would  cross  to  the  other  side, 
or  get  out  of  his  way  into  the  passage  of  a house. 
Occasionally,  however,  in  turning  a corner,  or  by 
mere  accident,  one  of  these  persons  would  some- 
times brush  the  garment  of  the  artist,  who  then  in- 
stantly sent  his  servant  home  for  another,  whether 
cloak  or  doublet,  and  gave  th z polluted  one  to  his 
attendant.  The  servant,  however,  did  not  dare  to 
wear  what  he  had  thus  acquired,  or  his  master 
would  have  turned  him  out  of  the  house  forthwith 
— he  could  only  sell  it.  It  is  added  that  the  mani- 
fest profit  which  the  servant  derived  from  his  mas- 
ter’s scruples,  made  the  people  doubt  whether  in 
all  cases  the  Jew  had  really  brushed  against  the 
artist,  or  whether  the  servant  had  himself  twitched 
the  cloak  as  the  J ew  passed.  At  any  rate  the  serv- 
ant has  been  heard  to  remonstrate,  and  urge  that 
“ it  was  the  slightest  touch  in  the  world,  sir — it 
cannot  matter.”  “Not  matter? — you  scoundrel, 
in  such  things  as  these,  everything  matters  and 
the  valet  got  the  cloak. 

On  one  occasion,  Cano’s  housekeeper,  with  an  ex- 
cess of  audacity,  had  actually  brought  one  of  these 
penitenciados  into  the  house,  and  was  buying  some 
linen  of  him ; a dispute  about  the  price  caused  high 
words,  and  the  master  came,  hearing  a disturbance. 
What  could  he  do  ? he  could  not  defile  himself  by 
laying  hands  on  the  miscreant,  who  got  away  while 
the  wrathful  artist  was  looking  for  some  weapon 
that  he  could  use  without  touching  him.  But  the 


234  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

housekeeper  had  to  fly  to  a neighbor’s  ; and  it  was 
only  after  many  entreaties,  and  performing  a rigor- 
ous quarantine,  that  she  was  received  back  again. 

CANO’S  RULING  PASSION  STRONG  IN  DEATH. 

His  passion  for  art,  and  his  eccentric  notions  re- 
specting the  Jews,  were  strongly  manifested  in  his 
last  sickness.  He  lived  in  the  parish  of  the  city 
which  contained  the  prison  of  the  Inquisition.  The 
priest  of  the  parish  visited  him  upon  his  death-bed, 
and  proposed  to  administer  the  sacraments  to  him 
after  confession,  when  the  artist  quietly  asked  him 
whether  he  was  in  the  habit  of  administering  it  to 
the  Jews  on  whom  penance  was  imposed  by  the  In- 
quisition. The  priest  replying  in  the  affirmative, 
Cano  said,  “ Senor  Licenciado,  go  your  way,  and 
do  not  trouble  yourself  to  call  again  ; for  the  priest 
who  administers  the  sacraments  to  the  Jews  shall 
not  administer  them  to  me.”  Accordingly  he  sent 
for  the  priest  of  the  parish  of  St.  Andrew.  This 
last,  however,  gave  offence  in  another  form ; he  put 
into  the  artist’s  hands  a crucifix  of  indifferent  exe- 
cution, when  Cano  desired  him  to  take  it  away. 
The  priest  was  so  shocked  at  this,  that  he  thought 
him  possessed,  and  was  at  the  point  of  exorcising 
him.  “My  son,”  he  said,  “ what  dost  thou  mean  ? 
this  is  the  Lord  who  redeemed  thee,  and  who  must 
save  thee.” — “ I know  that  well,”  replied  Cano, 
“ but  do  you  want  to  provoke  me  with  that  wretch- 
ed thing,  so  as  to  give  me  over  to  the  devil  ? let  me 


SCULPTORS,  AND  ARCHITECTS. 


235 


have  a simple  cross,  for  with  that  I can  reverence 
Christ  in  faith ; I can  worship  him  as  he  is  in  him- 
self, and  as  I contemplate  him  in  my  own  mind.” 
This  was  accordingly  done,  so  that  the  artist  was 
no  longer  troubled  by  an  indifferent  specimen  of 
sculpture. 

ribalta’s  marriage. 

Francisco  Ribalta,  an  eminent  Spanish  painter, 
studied  first  in  Valencia,  where  he  fell  in  love  with 
the  daughter  of  his  instructor.  The  father  refused 
his  consent  to  the  marriage  ; but  the  daughter  pro- 
mised to  wait  for  her  lover  while  he  studied  in  Ita- 
ly. Ribalta  accordingly  went  thither  and  devoted 
himself  to  his  art,  studying  particularly  the  works 
of  Raffaelle  and  the  Caracci,  and  returned,  after  a 
considerable  time,  to  his  native  country.  Quick- 
ened by  love,  he  had  attained  a high  degree  of  ex- 
cellence. On  arriving  at  the  city  of  Valencia,  he 
went  to  the  house  of  his  beloved,  who  meanwhile 
had  proved  faithful ; and  her  father  being  away  from 
home,  he  finished  the  sketch  of  a picture  in  his  stu- 
dio, in  his  mistress’  presence,  and  left  it  to  produce 
its  effect  upon  the  hitherto  inflexible  parent.  The 
latter,  on  returning,  asked  his  daughter  wdio  had 
been  there,  adding,  with  a look  at  the  picture, 
“ This  is  the  man  to  whom  I would  marry  thee,  and 
not  to  that  dauber,  Ribalta.5’  The  marriage  of 
course  took  place,  immediately  ; and  the  fame  of 
Ribalta  soon  procured  him  abundant  employment. 


236  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 
APARICIO,  CAN  OVA,  AND  THORWALDSEN. 

Aparicio,  a Spanish  painter  who  died  in  1838, 
possessed  little  merit,  but  great  vanity.  Among 
other  works,  he  painted  the  Ransoming  of  1700 
slaves  at  Algiers,  which  occurred  in  1768,  by  order 
of  Charles  III.  When  the  picture  was  exhibited  at 
Rome,  Canova,  who  knew  the  man,  told  Aparicio, 
“ This  is  the  finest  thing  in  the  world,  and  you  are 
the  first  of  painters.”  Soon  after,  Thor wald  sen 
came  in  and  ventured  a critique,  whereupon  the 
Don  indignantly  quoted  Canova.  “ Sir,  he  has 
been  laughing  at  you,”  said  the  honest  Dane,  to 
whom  Aparicio  never  spoke  again. 

BARTOLOME  ESTEBAN  MURILLO. 

This  preeminent  Spanish  painter  was  born  at  Pilas, 
near  Seville,  in  1613.  There  is  a great  deal  of  con- 
tradiction among  writers  as  to  his  early  history,  but 
it  has  been  proved  that  he  never  left  his  own  coun- 
try. He  studied  under  Don  Juan  del  Castillo, 
an  eminent  historical  painter  at  Seville,  on  leaving 
whom,  he  went  to  Cadiz.  It  was  the  custom  of  the 
young  artists  at  that  time  to  expose  their  works  for 
sale  at  the  annual  fairs,  and  many  of  the  earliest 
productions  of  Murillo  were  exported  to  South 
America,  which  gave  rise  to  the  tradition,  that  he 
had  proceeded  thither  in  person. 

MURILLO  AND  VELASQUEZ. 

The  fame  of  Velasquez,  then  at  its  zenith,  in- 
spired Murillo  with  a desire  to  visit  Madrid,  in  the 


SCULPTORS,  AND  ARCHITECTS. 


237 


hope  to  profit  by  his  instruction.  He  accordingly 
proceeded  thither  in  1642,  and  paid  his  court  to 
Velasquez,  who  received  him  with  great  kindness, 
admitted  him  into  his  academy,  and  procured  for 
him  the  best  means  of  improvement  beyond  his 
own  instruction,  by  obtaining  for  him  access  to  the 
rich  treasures  of  art  in  the  royal  collections,  where 
his  attention  was  particularly  directed  to  the  works 
of  Titian,  Rubens,  and  Vandyck. 

MURILLO’S  RETURN  TO  SEVILLE. 

After  a residence  of  three  years  at  Madrid,  Mu- 
rillo returned  to  Seville,  where  he  was  commissioned 
to  paint  his  great  fresco  of  St.  Thomas  of  Villanuova 
distributing  alms  to  the  poor,  in  the  convent  of  San 
Francisco,  consisting  of  sixteen  compartments. — 
The  subject  suited  his  genius,  and  gave  full  scope 
for  the  display  of  his  powers,  which  were  peculiarly 
adapted  to  the  representation  of  nature  in  her  most 
simple  and  unsophisticated  forms.  The  Saint  stands 
in  a dignified  posture,  with  a countenance  beaming 
with  benevolence  and  compassion,  while  he  is  sur- 
rounded by  groups  of  paupers,  eagerly  pressing  for- 
ward to  receive  his  charity,  whose  varied  character 
and  wretchedness  are  portrayed  with  wonderful  art 
and  truthfulness  of  expression.  This  and  other  works 
produced  emotions  of  the  greatest  astonishment 
among  his  countrymen,  established  his  reputation 
as  one  of  the  greatest  artists  of  his  age,  and  pro- 
cured him  abundant  employment. 


238 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


MURILLO  AND  IRIARTE. 

About  this  time,  Murillo  was  employed  by  the 
Marquis  of  Villamanrique,  to  paint  a series  of  pic- 
tures from  the  life  of  David,  in  which  the  back- 
grounds were  to  be  painted  by  Ignacio  Iriarte, 
an  eminent  landscape  painter  of  Seville.  Murillo 
rightly  proposed  that  the  landscape  parts  should  be 
first  painted,  and  that  he  should  afterwards  put  in 
the  figures ; but  Iriarte  contended  that  the  historical 
part  ought  to  be  first  finished,  to  which  he  would 
adapt  the  backgrounds.  To  put  an  end  to  the  dis- 
pute, Murillo  undertook  to  execute  the  whole,  and 
changing  the  History  of  David  to  that  of  Jacob,  he 
produced  the  famous  series  of  five  pictures,  now  in 
the  possession  of  the  Marquis  de  Santiago  at  Mad- 
rid, in  which  the  beauty  of  the  landscapes  contends 
with  that  of  the  figures,  and  which  remain  a 
monument  of  his  powers  in  these  different  depart- 
ments of  the  art. 

MURILLO’S  DEATH. 

The  last  work  which  Murillo  painted  was  a pic- 
ture of  St.  Catherine,  in  the  convent  of  the  Capu- 
chins at  Seville,  his  death  being  hastened  by  a fall 
from  the  scaffold.  He  died  at  Seville  in  1685,  uni- 
versally deplored — for  he  was  greatly  beloved,  not 
merely  for  his  extraordinary  talents,  but  for  the 
generous  qualities  of  his  heart.  Such  was  his  noble 
and  charitable  disposition,  that  he  is  said  to  have 


SCULPTORS,  AND  ARCHITECTS. 


230 


left  but  little  property,  though  he  received  large 
prices  for  his  works. 

MURILLO’S  STYLE. 

Few  painters  have  a juster  claim  to  originality  of 
style  than  Murillo,  and  his  works  show  an  incontes- 
tible  proof  of  the  perfection  to  which  the  Spanish 
school  attained,  and  the  character  of  its  artists ; 
for  he  was  never  out  of  his  native  country,  and 
could  have  borrowed  little  from  foreign  artists  ; and 
this  originality  places  him  in  the  first  rank  among 
the  painters  of  every  school.  All  his  works  are  dis- 
tinguished by  a close  and  lively  imitation  of  nature. 
His  pictures  of  the  Virgin,  Saints,  Magdalens,  and 
even  of  the  Saviour,  are  stamped  with  a character- 
istic expression  of  the  eye,  and  have  a national  pe- 
culiarity of  countenance  and  habiliments,  which  are 
very  remarkable.  There  is  little  of  the  academy 
discernible  in  his  design  or  his  composition.  It  is  a 
chaste  and  faithful  representation  of  what  he  saw 
or  conceived ; truth  and  simplicity  are  never  lost 
sight  of ; his  coloring  is  clear,  tender,  and  harmoni- 
ous, and  though  it  possesses  the  truth  of  Titian,  and 
the  sweetness  of  Vandyck,  it  has  nothing  of  the  ap- 
pearance of  imitation.  There  is  little  of  the  ideal 
in  his  forms  or  heads,  and  though  he  frequently 
adopts  a beautiful  expression,  there  is  usually  a 
portrait-like  simplicity  in  his  countenances.  In 
short,  his  pictures  are  said  to  hold  a middle  rank 
between  the  unpolished  naturalness  of  the  Flemish, 


240  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

and  the  graceful  and  dignified  taste  of  the  Italian 
schools. 

MURILLO’S  WORKS. 

The  works  of  Murillo  are  numerous,  and  widely 
scattered  over  the  world.  Most  of  his  greatest 
works  are  in  the  churches  of  Spain  ; some  are  in 
the  Royal  collections  at  Madrid,  some  in  France 
and  Flanders,  many  in  England,  and  a few  in  the 
United  States.  They  now  command  enormous  pri- 
ces. The  National  Gallery  of  London  paid  four 
thousand  guineas  for  a picture  of  the  Holy  Family, 
and  two  thousand  for  one  of  St.  John  with  the 
Lamb.  The  late  Marshal  Soult’s  collection  was 
very  rich  in  Murillos — the  fruits  of  his  campaigns 
in  Spain.  The  famous  Assumption  of  the  . Virgin, 
considered  the  chef  d’ceuvre  of  the  master,  brought 
the  enormous  sum  of  five  hundred  and  eighty-six 
thousand  francs,  and  was  bought  by  the  French 
government  to  adorn  the  Louvre  ; but  it  should  be 
recollected  that  the  heads  of  three  governments — 
those  of  France,  Russia  and  Spain— and  an  Eng- 
lish Marquis,  competed  for  it.  Such  works,  too,  are 
esteemed  above  all  price,  as  models  of  art,  in  a na- 
tional collection  of  pictures.  Of  the  other  Murillos 
in  the  Soult  collection,  the  principal  brought  the 
following  prices:  “The  Ravages  of  the  Plague,” 
twenty  thousand  francs  ; “ The  Miracle  of  St.  Die- 
go,’’ eighty-five  thousand  francs  ; “ The  Flight  into 
Egypt,”  fifty-one  thousand  francs;  “The  Nativity 


SCULPTORS,  AND  ARCHITECTS. 


241 


of  the  Virgin,”  ninety  thousand  francs ; “ The  Re- 
pentance of  St.  Peter,”  fifty-five  thousand  francs ; 
“ Christ  on  the  Cross,”  thirty-one  thousand  francs  ; 
uSt.  Peter  in  Prison,”  one  hundred  and  fifty-one 
thousand  francs;  “ Jesus  and  St.  John — children,” 
fifty-one  thousand  seven  hundred  and  fifty  francs. 
The  two  last  were  purchased  for  the  Emperor  of 
Russia.  The  collection  was  sold  in  May,  1852. 

The  works  of  Murillo  have  been  largely  copied 
and  imitated,  and  so  successfully  as  to  deceive  even 
connoisseurs. 

MURILLO’S  ASSUMPTION  OF  THE  VIRGIN. 

The  assumption  of  the  Virgin  is  considered  by 
all  the  Spanish  writers  as  the  masterpiece  of  Muril- 
lo, and  never,  perhaps,  did  that  great  master  attain 
such  sublimity  of  expression  and  such  magnificent 
coloring,  as  in  this  almost  divine  picture.  It  repre- 
sents the  Virgin  in  the  act  of  being  carried  up  into 
Heaven.  Her  golden  hair  floats  on  her  shoulders, 
and  her  white  robe  gently  swells  in  the  breeze,  while 
a mantle  of  blue  gracefully  falls  from  her  left  shoul- 
der. Groups  of  angels  and  cherubim  of  extraordi- 
nary beauty,  sport  around  her  in  the  most  evident 
admiration,  those  below  thronging  closely  together, 
while  those  above  open  their  ranks,  as  if  not  in  any 
way  to  conceal  the  glory  shed  around  the  ascending 
Virgin.  The  size  of  the  picture  is  eight  feet  six 
inches  in  height,  by  six  feet  broad,  French  measure. 
This  picture  was  the  gem  of  the  famous  collection 


242  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

made  by  Marshal  Soult,  during  his  campaigns  in 
Spain,  who  used  humorously  to  relate  that  it  cost 
him  two  monks , which  he  thus  explained.  One  mor- 
ning two  of  his  soldiers  were  found  with  their 
throats  cut,  and  the  deed  being  traced  to  the  insti- 
gation of  the  monks,  near  whose  convent  they  had 
encamped,  he  immediately  arraigned  them  before 
a court-martial,  sentenced  two  of  the  fraternity  to 
expiate  the  deed,  and  compelled  them  to  designate 
the  victims  by  lot.  One  of  the  chances  fell  to  the 
Prior,  who  offered  Soult  this  peerless  picture  as  the 
price  of  their  redemption. 

Castillo’s  tribute  to  murillo. 

Castillo  was  educated  in  the  school  of  Zurbaran. 
After  returning  to  his  native  city,  he  flattered  him- 
self that  he  was  the  first  Spanish  painter  of  the  day ; 
but  subsequently,  on  a visit  to  Seville,  he  was  pain- 
fully undeceived.  The  works  of  Murillo  struck 
him  with  astonishment,  and  when  he  saw  the  St. 
Leander  and  St.  Isidore,  as  well  as  St.  Anthony 
of  Padua  by  that  master,  he  exclaimed,  “ It  is  all 
over  with  Castillo  ! Is  it  possible  that  Murillo  can 
be  the  author  of  all  this  grace  and  beauty  of  color- 
ing ?”  He  returned  to  Cordova,  and  attempted  to 
imitate  and  equal  Murillo,  but  felt  satisfied  that  he 
had  failed  ; and  it  is  said  that  he  died  in  the  follow- 
ing year,  from  the  effects  of  envy  and  annoyance. 


SCULPTORS,  AND  ARCHITECTS. 


243 


CORREGGIO. 

The  name  of  this  great  artist  was  Antonio  Alle- 
gri, and  he  was  born  at  Correggio,  a small  town  in 
tbe  Duchy  of  Modena,  in  1494  ; hence  his  acquired 
name.  It  was  for  a long  time  the  fashion  to  regard 
the  divine  creations  of  Correggio  as  the  mere  pro- 
duct of  genius  and  accident ; himself  as  a man  born 
in  the  lowest  grade  of  society ; uneducated  in  the 
elements  of  his  art,  owing  all  to  the  wondrous  re- 
sources of  his  own  unassisted  genius ; living  and 
dying  in  obscurity  and  poverty  ; ill  paid  for  his  pic- 
tures ; and  at  length  perishing  tragically.  It  has 
been  proved  that  there  is  no  foundation  for  these 
popular  fallacies.  Correggio’s  own  pictures  are  a 
sufficient  refutation  of  a part  of  them ; they  exhibit 
not  only  a classical  and  cultivated  taste,  but  a pro- 
found knowledge  of  anatomy,  and  of  the  sciences  of 
optics,  perspective,  and  chemistry,  as  far  as  they 
were  then  carried.  His  exquisite  chiaro-scuro  and 
harmonious  blending  of  colors  were  certainly  not 
the  result  of  mere  chance:  all  his  sensibility  to  these 
effects  of  nature  would  not  have  enabled  him  to  ren- 
der them,  without  the  profoundest  study  of  the  me- 
chanical means  he  employed.  The  great  works  on 
which  he  was  employed — his  lavish  use  of  the  rarest 
and  most  expensive  colors,  and  the  time  and  labor 
he  bestowed  in  analyzing  and  refining  them — the  re- 
port that  he  worked  on  a ground  overlaid  with 
gold — all  refute  the  idea  of  his  being  either  an  ig- 


244  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

norant  or  a distressed  man.  Of  the  rank  he  held  in 
the  estimation  of  the  princes  of  his  country  we  have 
evidence  in  a curious  document  discovered  in  the 
archives  of  the  city  of  Correggio — the  marriage  con- 
tract between  Ippolito  (the  son  of  Giberto,  Lord  of 
Correggio,  by  his  wife,  the  celebrated  poetess  Vit- 
toria  Gambara),  and  Chiara  da  Correggio,  in  which 
we  find  the  signature  of  the  great  painter  as  one  of 
the  witnesses.  Correggio  was  one  of  that  splendid 
triumvirate  of  painters  who,  living  at  the  same  time, 
were  working  on  different  principles,  and  achieving, 
each  in  his  own  department,  excellence  hitherto  un- 
equalled ; and  if  Correggio  must  be  allowed  to  be 
inferior  to  Raffaelle  in  invention  and  expression,  and 
to  Titian  in  life-like  color,  he  has  united  design  and 
color  with  the  illusion  of  light  and  shadow  in  a 
degree  of  perfection  not  then  nor  since  approached 
by  any  painter.  Hence  Annibale  Caracci,  on  seeing 
one  of  his  great  pictures,  exclaimed  in  a transport 
that  he  was  “ the  only  painter  l” 

Correggio’s  grand  cupola  of  the  church  of 

ST.  JOHN  AT  PARMA.  % 

The  admiration  which  the  works  of  Correggio  ex- 
cited, induced  the  monks  of  St.  John  to  engage 
him  in  ornamenting  the  grand  cupola,  and  other 
parts  of  their  church.  The  original  agreement  has 
not  been  discovered,  but  various  entries  have  been 
found  in  the  books  of  the  convent,  between  1519  and 
1536,  which  prove,  that  for  adorning  the  cupola  he 


SCULPTORS,  AND  ARCHITECTS. 


245 


received,  as  Tiraboschi  asserts,  two  hundred  and 
seventy-two  gold  ducats,  and  two  hundred  more  for 
other  parts  of  the  fabric.  The  last  payment  of 
twenty-seven  gold  ducats  was  made  on  the  23d  of 
January,  1524,  and  the  acknowledgment  of  the 
painter,  under  his  own  signature,  is  still  extant. 

The  subject  is  the  Ascension  of  Christ  in  glory, 
surrounded  by  the  twelve  Apostles,  seated  on  the 
clouds  ; and  in  the  lunettes  the  four  Evangelists  and 
four  Doctors  of  the  Church.  The  situation  for  the 
picture  presented  difficulties  which  none  but  so 
great  an  artist  could  have  overcome  ; for  the  cupo- 
la has  neither  sky-light  nor  windows,  and  conse- 
quently the  whole  effect  of  the  piece  must  depend 
on  the  light  reflected  from  below.  The  figures  of 
the  Apostles  are  chiefly  naked,  gigantic,  and  in  a 
style  of  peculiar  grandeur. 

Besides  the  cupola,  various  parts  of  the  same 
church  were  adorned  by  his  hand.  He  decorated 
the  tribune,  which  was  afterwards  demolished  to 
enlarge  the  choir  ; and  it  was  so  highly  esteemed, 
that  Cesare  Aretusi  was  employed  by  the  monks  to 
copy  it  for  the  new  tribune.  He  painted  also  in 
fresco,  the  two  sides  of  the  fifth  chapel  on  the  right 
hand,  the  first  representing  the  Martyrdom  of  St. 
Placido  and  St.  Flavia,  and  the  second  a dead 
Christ,  with  the  Virgin  Mary  swooning  at  his  feet. 
Of  these  paintings  Mengs  particularly  admires  the 
head  of  St.  Placido  and  the  exquisite  figure  of  the 
Magdalen  in  the  last  mentioned  picture. 


246 


ANECDOTES  OF  PAINTERS,  ENGRAVERS. 


CORREGGIO’S  GRAND  CUPOLA  OF  THE  CATHEDRAL  AT 
PARMA. 

The  grand  fresco  painting  in  the  cupola  of  the 
Cathedral  of  Parma,  is  considered  Correggio’s 
greatest  work,  and  has  ever  been  regarded  as  a 
most  wonderful  production. 

The  difficulties  he  had  to  encounter,  were  great- 
er than  those  in  the  church  of  St.  John,  and  in 
overcoming  them  he  displayed  the  most  consum- 
mate skill  and  judgment.  This  cupola,  which  is 
nearly  thirty-nine  feet  in  diameter,  is  octagonal,  the 
compartments  diminishing  as  it  rises  ; and  it  is  not 
surmounted  with  a lantern,  but  towards  the  lower 
part  is  lighted  by  windows,  approaching  to  an  oval 
form.  On  this  surface  he  delineated  numerous 
groups  of  figures,  with  extraordinary  boldness  and 
effect ; though,  for  the  sake  of  variety,  he  partially 
adopted  a smaller  scale  than  in  the  cupola  of  St. 
John.  The  subject  is  the  Assumption  of  the  Vir- 
gin Mary.  She  is  represented  with  an  air  in  the 
highest  degree  indicative  of  devotion  and  beatitude, 
as  rising  to  meet  Christ  in  the  clouds,  surrounded 
by  the  heavenly  choir  of  saints  and  angels ; while 
beneath,  the  apostles  behold  her  reception  into  glory 
with  the  most  dignified  expression  of  reverence  and 
‘ astonishment.  Over  the  whole  is'  an  effusion  of 
light,  which  produces  an  impression  truly  celestial. 

The  figures  which  are  depicted  in  the  upper  part 
of  the  dome,  are  foreshortened  with  consummate 


SCULPTORS,  AND  ARCHITECTS. 


247 


skill.  Mengs,  who  saw  them  near,  and  judged  of 
them  as  an  artist,  appears  astonished  at  their  bold- 
ness, which  he  calls  “ sconcia  terribile,”  particularly 
that  of  Christ,  which  occupies  the  centre.  But  the 
effect,  when  seen  from  below,  proves  that  the  paint- 
er had  deeply  studied  that  delicate  branch  of  the 
art ; for  nothing  can  exceed  the  bold  and  exquisite 
management  of  the  light  and  shade,  and  the  beauti- 
ful proportion  in  which  the  figures  appear  to  the 
eye,  except  the  life  and  spirit  with  which  they  are 
animated,  and  the  general  harmony  of  the  whole. 

In  decorating  the  lower  part  of  the  cupola,  Cor- 
reggio displayed  un diminished  resources.  He  fig- 
ured a species  of  socle,  or  cornice,  which  runs  round 
the  whole  cupola,  yet  at  such  a distance  as  to  afford 
a space  between  the  windows  for  the  apostles,  who 
appear,  some  single,  some  in  pairs,  surrounded  with 
angels,  and  delineated  in  the  same  grand  style  as 
those  in  the  cupola  of  St.  John.  Yet,  although 
placed  on  the  very  lines  of  the  angles,  formed  in  the 
dome,  they  are  so  artfully  disposed  and  foreshort- 
ened, as  to  appear  painted  vertically  on  the  cornice. 
To  unite  these  with  the  principal  figures,  he  distri- 
buted above  and  on  the  socle,  between  the  gigan- 
tic figures  of  the  apostles,  and  the  light  and  airy 
forms  of  the  celestial  choir  above,  groups  of  angels, 
of  an  intermediate  size,  some  with  torches,  and 
others  bearing  vases  and  censers. 

But  a striking  proof  of  his  taste  and  skill  is  man- 
ifested in  the  four  lunettes  between  the  arches  sup- 


248 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


porting  the  cupola.  Here  he  feigned  the  architec- 
ture to  form  four  capacious  niches  or  shells,  in  which 
he  introduced  the  patrons  of  the  city,  St.  John  the 
Baptist,  St.  Hilary,  St.  Thomas,  and  St.  Bernard 
degli  Uberti,  in  magnitude  equal  to  the  Apostles, 
resting  on  clouds  and  attended  by  angels.  In  de- 
picting the  light  as  transmitted  from  the  groups 
above,  he  has  thrown  it  so  naturally  upon  these  fig- 
ures and  their  angelic  suite,  that  they  appear  as  if 
detached  from  the  wall,  and  animated  with  more 
than  human  spirit  and  grace. 

This  great  work  was  commenced  about  1523,  and 
finished  in  1530,  as  appears  from  the  original  agree- 
ments and  receipts,  preserved  in  the  archives  of  the 
Chapter,  which  were  published  by  his  biographer 
Pungileoni,  from  a copy  taken  and  authenticated  by 
a Notary  Public,  in  1803.  The  work  seems  to  have 
been  delayed  by  the  feuds  and  warfare  which  agitat- 
ed Parma  at  that  time,  and  perhaps  by  other  engage-  7 
ments  of  the  artist.  The  contract  was  signed  on 
the  3d  of  November,  1522.  In  the  plan  or  estimate 
which  Correggio  drew  up  at  the  desire  of  the  Chap- 
ter, and  which  is  still  preserved  in  his  own  hand- 
writing, he  required  twelve  hundred  gold  ducats, 
and  one  hundred  for  gold  leaf ; the  scaffolding,  lime, 
and  other  requisites  to  be  provided  by  the  Chapter. 
But  in  the  contract  itself,  the  price  was  reduced  to 
one  thousand  ducats,  exclusive  of  the  one  hundred 
for  gold  leaf.  For  this  sum  he  engaged  to  paint 
the  choir,  and  the  cupola  with  its  arches  and  pillars, 


SCULPTORS,  AND  ARCHITECTS. 


249 


as  far  as  the  altar ; also  the  lateral  chapels,  in  imita- 
tion of  living  subjects,  bronze  and  marble,  accord- 
ing to  the  plan,  and  in  conformity  to  the  nature  of 
the  place,  comprising  in  the  whole  a surface  of  one 
hundred  and  fifty-four  square  perches  (perteche). 
The  Chapter,  on  their  part,  were  to  provide  the  scaf- 
folding and  the  lime,  and  to  defray  the  expense  of 
preparing  the  walls.  Thus  Correggio  received  the 
sum  of  one  thousand  gold  ducats  (about  two  thou- 
sand dollars)  for  his  work,  out  of  which  he  had  to 
pay  for  his  colors,  and  the  labors  of  his  assistants. 
What  then  becomes  of  the  miserable  story  generally 
current,  that  this  was  his  last  work  ; that  when  he 
went  to  receive  payment,  that  he  might  take  home 
the  price  of  his  labors  to  his  poverty-stricken  family, 
the  canons  found  fault  with  his  picture,  and  refused 
to  pay  him  more  than  half  the  paltry  sum  originally 
promised  ; that  they  paid  him  in  copper  coin  ; that 
he  took  the  heavy  burden  upon  his  shoulders,  and 
walked  a distance  of  eight  miles  to  his  cottage,  un- 
der the  burning  heat  of  an  Italian  sun,  which  to- 
gether with  his  despair  threw  him  into  a fever,  of 
which  he  died,  on  his  bed  of  straw,  in  three  days  ? 
It  appears  from  the  documents  before  cited,  that 
Correggio  received  payment  in  instalments,  as  his 
work  progressed. 

CORREGGIO’S  FATE. 

Vasari  commiserates  the  fate  of  Correggio,  whom 
he  represents  as  of  a melancholy  turn  of  mind ; 


250  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

timid  and  diffident  of  his  own  powers  ; burthened 
with  a numerous  family,  which,  with  all  his  prodi- 
gious talents,  he  could  scarcely  support ; ill  recom- 
pensed for  his  works  ; and  to  crown  the  sad  story, 
we  are  told  that,  having  received  at  Parma  a pay- 
ment of  sixty  crowns  in  copper  money,  he  caught 
a fever  in  the  exertion  of  carrying  it  home  on  his 
shoulders,  which  occasioned  his  death. 

This  picture,  however,  according  to  Lanzi,  is  ex- 
aggerated ; for  although  the  situation  of  Correggio 
was  far  beneath  his  merits,  yet  it  was  by  no  means 
deplorable.  His  family  was  highly  respectable,  and 
possessed  considerable  landed  property,  which  is 
said  to  have  been  augmented  by  his  own  earn- 
ings ; and  so  far  from  his  having  died  of  the  fatigue 
of  carrying  home  copper  money,  he  was  usually 
paid  in  gold.  For  the  cupola  and  tribune  of  the 
church  of  St.  John,  he  received  four  hundred  and 
seventy-two  sequins ; for  that  of  the  Cathedral,  three 
hundred  and  fifty ; payments  by  no  means  inconsid- 
erable in  those  times.  For  his  celebrated  Notte  he 
was  paid  forty  sequins,  and  for  the  St.  Jerome, 
which  cost  him  six  months’  labor,  forty-seven.  It 
does  not  appear  probable  that  he  acquired  great  rich- 
es, but  there  is  no  doubt  that  he  was  equally  screen- 
ed from  the  evils  attendant  on  penury  and  affluence. 

The  researches  and  discoveries  of  the  learned  Ti- 
raboschi,  the  indomitable  Dr.  Michele  Antonioli,  and 
the  zealous  and  impartial  Padre  Luigi  Pungileoni, 
have  thrown  much  light  upon  the  life  of  Correggio. 


SCULPTORS,  AND  ARCHITECTS. 


251 


His  father,  Pellegrino  Allegri,  was  a general  mer- 
chant in  Correggio,  esteemed  by  his  fellow-citizens. 
His  circumstances  were  easy,  and  he  intended  Anto- 
nio for  one  of  the  learned  professions,  but  his  pas- 
sion for  painting  induced  him  to  allow  him  to  fol- 
low the  bent  of  his  genius.  It  is  not  certainly  known 
under  whom  he  studied  painting.  Some  of  the  Ita- 
lian writers  say  that  he  was  instructed  by  Francesco 
Bianchi  and  Giovanni  Murani,  called  II  Frari; 
others  that  he  was  a pupil  of  Lionardo  da  Yinci 
and  Andrea  Mantegna ; Lanzi  is  decidedly  of  the 
opinion  that  he  formed  his  style  by  studying  the 
works  of  Mantegna,  who  died  in  1506,  which  does 
away  with  the  supposition  that  he  could  have  stud- 
ied with  him.  u The  manner,”  says  Lanzi,  “ in 
which  Correggio  could  have  imbibed  so  exquisite  a 
taste,  has  always  been  considered  surprising  and 
unaccountable,  prevailing  everywhere,  as  we  find  in 
his  canvass,  in  his  laying  on  his  colors,  in  the  last 
touches  of  his  pictures ; but  let  us  for  a moment 
suppose  him  a student  of  Mantegna’s  models,  sur- 
passing all  others  in  the  same  taste,  and  the  wonder 
will  be  accounted  for.  Let  us,  moreover,  consider 
the  grace  and  vivacity  so  predominant  in  the  com- 
positions of  Correggio,  the  rainbow  as  it  were  of  his 
colors,  that  accurate  care  in  his  foreshortenings,  and 
of  those  upon  ceilings ; his  abundance  of  laughing 
boys  and  cherubs,  of  flowers,  fruits,  and  all  delight- 
ful objects  ; and  let  us  ask  ourselves  whether  this 
new  style  does  not  appear  an  exquisite  completion 


252  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

of  that  of  Mantegna,  as  the  pictures  of  Raffaelle 
and  Titian  display  the  progress  and  perfection  of 
those  of  Perugino  and  Giovanni  Bellini.”  The  au- 
thentic documents  revealed  by  the  three  savans  be- 
fore mentioned,  show  that  Correggiowasmost  high- 
ly esteemed  by  his  cotemporaries,  and  that  he  asso- 
ciated with  persons  of  rank  and  letters.  On  two  oc- 
casions he  passed  some  time  at  Padua,  with  the 
Marchese  Manfredo,  and  the  celebrated  patroness 
of  arts  and  letters,  Veronica  Gambara,  relict  of  Gil- 
berto,  Lord  of  Correggio.  That  he  was  cheerful 
and  lively,  may  be  inferred  from  the  expression  of  a 
writer  concerning  him  : “ La  vivacitd  e dal  brio  del 
nostro  Antonio  /”  yet  affectionate  and  gentle,  as  is 
evident  from  his  being  sponsor  on  three  occasions  to 
infants  of  his  friends  (in  1511,  1516,  and  1518),  be- 
fore he  had  reached  his  twenty-second  year.  In 
1520  he  was  admitted  by  diploma,  as  a brother  of 
the  Congregation  Cassinensi,  in  the  monastery  of  St. 
John  the  Evangelist,  at  Parma — the  fraternity  to 
which  the  illustrious  Tasso  belonged.  In  the  same 
year  he  married  Girolama  Merlini,  a lady  of  good 
family,  amiable  disposition,  and  great  beauty,  who 
was  his  model  for  the  Zingara,  probably  after  the 
birth  of  his  first  child.  By  this  lady  he  had  one 
son  and  three  daughters.  In  1529,  to  his  great 
affliction,  she  died,  and  was  buried  by  her  own  re- 
quest in  the  church  of  St.  John  at  Parma.  Cor- 
reggio did  not  marry  again.  He  died  suddenly  on 
the  fifth  day  of  March,  1534,  aged  forty  years*  and 


SCULPTORS,  AND  ARCHITECTS. 


253 


was  buried  with  solemnities  worthy  of  his  great  en- 
dowments, in  the  church  of  San  Francesco,  at  the 
foot  of  the  altar  in  the  chapel  of  the  Arrivabene. 

ANNIBALE  CARACCl’S  OPINION  OF  CORREGGIO’S 
GRAND  CUPOLA  AT  PARMA. 

“ I went,”  says  Annibale  Caracci,  in  a letter  to 
his  cousin  Lodovico,  “ to  see  the  grand  cupola, 
which  you  have  so  often  commended  to  me,  and  am 
quite  astonished.  To  observe  so  large  a composi- 
tion, so  well  contrived  ; and  seen  from  below  with 
such  great  exactness  ; and  at  the  same  time,  such 
judgment,  such  grace,  and  coloring  of  real  flesh, 
good  God,  not  Tibaldi,  not  Nicolini,  nor  even  I may 
say,  Raflaelle  himself,  can  be  compared  with  him. 
I know  not  how  many  paintings  I have  seen  this 
morning;  the  Ancona,  or  altar-piece  of  St.  John, 
and  St.  Catharine,  and  the  Madonna  della  Scodella 
going  to  Egypt,  and  I swear,  I would  change  none 
of  these  for  the  St.  Cecilia.  To  speak  of  the  graces 
of  this  St.  Catharine,  who  so  gracefully  lays  her 
head  on  the  feet  of  the  beautiful  little  Savior ; is 
she  not  more  lovely  than  the  St.  Mary  Magdalen? 
That  fine  old  man  St.  Jerome,  is  he  not  grander, 
and  at  the  same  time  more  tender  than  that  St. 
Paul,  which  first  appeared  to  me  a miracle,  and  now 
seems  like  a piece  of  wood,  it  is  so  hard  and  sharp. 
However  you  must  have  patience  even  for  your 
own  Parmeggiano,  because  I now  acknowledge  that 
I have  learnt  from  this  great  man,  to  imitate  all  his 


254  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

grace,  thpugh  at  a great  distance  ; for  the  children 
of  Correggio  breathe  and  smile  with  such  a grace 
and  truth,  that  one  cannot  refrain  from  smiling  and 
enjoying  one’s  self  with  them. 

“ I write  to  my  brother  that  he  must  come,  for 
he  will  see  things  which  he  could  neve-r  have  be- 
lieved,— 18th  April,  1580. 

“I  have  been  to  the  Steccata,  and  the  Zocoli,  and 
have  observed  what  you  told  me  many  times,  and 
what  I now  confess  to  be  true  ; but  I will  say  that, 
to  my  taste,  Parmeggiano  bears  no  comparison  with 
Correggio,  because  the  thoughts  and  conceptions  of 
Correggio  were  his  own,  evidently  drawn  from  his 
own  mind,  and  invented  by  himself,  guided  only  by 
the  original  idea.  The  others  all  rest  on  something 
not  their  own ; some  on  models,  some  on  statues 
or  drawings : all  the  productions  of  the  others  are 
represented  as  they  may  be ; all  of  this  man  as  they 
truly  are. 

u The  opportunities  which  Agostino  wished  for, 
have  not  occurred  ; and  this  appears  to  me  a coun- 
try, which  one  never  could  have  believed  so  totally 
devoid  of  good  taste  and  of  the  delights  of  a paint- 
er, for  they  do  nothing  but  eat  and  drink,  and  make 
love.  I promised  to  impart  to  you  my  sentiments ; 
but  I confess  I am  so  confused  that  it  is  impossible. 
I rage  and  weep,  to  think  of  the  misfortune  of  poor 
Antonio  ; so  great  a man,  if  indeed  he  were  a man, 
and  not  an  angel  in  the  flesh,  to  be  lost  here,  in  a 
country  where  he  was  unknown,  and  though  worthy 


SCULPTORS,  AND  ARCHITECTS. 


255 


of  immortality,  here  to  die  unhappily.  He  and  Ti- 
tian will  always  be  my  delight : and  if  I do  not  see 
the  works  of  the  latter  at  Venice,  I shall  not  die 
content. — April  28,  1580.” 

CORREGGIO’S  ENTHUSIASM. 

Among  the  many  legends  respecting  Correggio, 
it  is  related  that  when  he  first  contemplated  one  of 
the  masterpieces  of  Raffaelle,  his  brow  colored,  his 
eye  brightened,  and  he  exclaimed,  “ I also  am  a 
painter !”  When  Titian  first  saw  the  great  works 
of  Correggio  at  Parma,  he  said,  u Were  1 not  Ti- 
tian, I would  wish  to  be  Correggio.” 

CORREGGIO’S  GRACE. 

3sTo  one  can  contemplate  the  works  of  Correggio, 
without  being  captivated  by  that  peculiar  beauty 
which  the  Italians  have  very  appropriately  distin- 
guished by  the  epithet  Correggiesque , for  it  was 
the  complexion  of  the  individual  mind  and  tempera- 
ment of  the  artist,  stamped  upon  the  work  of  his 
hand.  No  one  approached  him  in  this  respect,  if 
perhaps  we  except  Lionardo  da  Vinci.  Though  so 
often  imitated,  it  remains  in  fact  inimitable ; an  at- 
tempt degenerating  into  affectation  of  the  most  in- 
tolerable kind.  It  consists  in  the  blending  of  senti- 
ment in  expression,  with  flowing,  graceful  forms,  an 
exquisite  fullness  and  softness  in  the  tone  of  color, 
and  an  almost  illusive  chiaro-scuro,  all  together  con- 


256  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

veying  to  tlie  mind  of  the  spectator  the  most  de- 
lightful impression  of  harmony,  both  spiritual  and 
sensual.  He  is  the  painter  of  beauty  par  excel- 
lence ; he  is  to  us  what  Apelles  was  to  the  ancients 
— the  standard  of  the  amiable  and  the  graceful. 

CORREGGIO  AND  THE  MONKS. 

The  pleasure  which  the  monks  derived  from  the 
works  of  Correggio,  even  in  their  incipient  state, 
and  the  esteem  which  they  had  for  him,  is  manifest- 
ed by  a remarkable  document.  This  is  a letter  or 
patent  of  confraternity,  passed  in  the  general  assem- 
bly of  the  order,  held  at  Pratalea,  in  the  latter  end 
of  1521  ; a privilege  which  was  eagerly  sought  at 
this  and  earlier  periods,  and  was  seldom  conferred 
on  persons  not  eminent  for  rank  or  talents-.  It  con- 
veyed a participation  in  the  spiritual  benefits  deriv- 
ed from  the  prayers,  masses,  alms,  and  other  pious 
works  of  the  community,  and  was  coupled  with  an 
engagement  to  perform  the  same  offices  for  the  re- 
pose of  his  soul,  and  the  souls  of  his  family,  as  were 
performed  for  their  own  members. 

* 

V ' 

CORREGGIO’S  MULETEER. 

It  is  said  that  Correggio  painted  a picture  of  a 
muleteer,  as  a sign  to  a small  public  house,  which 
was  kept  by  a man  who  had  frequently  obliged  him, 
and  who  had  been  a muleteer.  This  picture  was 
purchased  by  a person  sent  to  Italy  many  years  ago 


SCULPTORS,  AND  ARCHITECTS. 


257 


to  collect  ancient  paintings.  It  has  all  the  marks  in 
the  upper  corner,  of  having  been  joined  to  a piece 
of  wood,  and  used  for  a sign ; it  cost  five  hundred 
guineas ! 

DUKE  OF  WELLINGTON’S  CORREGGIO  CAPTURED  AT 
VITTORIA. 

Cunningham  warms  into  rapture  in  speaking  of 
this  picture.  “ The  size  is  small,  some  fifteen  in- 
ches or  so ; but  true  genius  can  work  miracles  in 
small  compass.  The  central  light  of  the  picture  is 
altogether  heavenly ; we  never  saw  anything  so  in- 
sufferably brilliant ; it  haunted  us  round  the  room 
at  Apsley  House,  and  fairly  extinguished  the  light 
of  its  companion  pictures.” 

CORREGGIO’S  ANCONA. 

Correggio  painted  for  the  church  of  the  Conven- 
tual at  Correggio,  an  Ancona,  (a  small  altar-piece 
in  wood,)  consisting  of  three  pictures  when  he  was 
in  his  twentieth  year,  as  appears,  says  Lanzi,  from 
the  written  agreement,  which  fixes  the  price  at  one 
hundred  gold  ducats,  or  one  hundred  zecchins,  and 
proves  the  esteem  in  which  his  talents  were  then 
held.  “ He  here  represented  St.  Bartholomew  and 
St.  John,  each  occupying  one  side,  while  in  the  mid- 
dle compartment,  he  drew  a Repose  of  the  Holy 
F amily  flying  into  Egypt,  to  which  last  was  added 
a figure  of  St.  Francis.  Francesco  I.,  Duke  of  Mo- 
dena, was  so  greatly  delighted  with  this  picture, 


258  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

that  he  sent  the  artist  Boulanger  to  copy  it  for  him, 
and  thus  obtaining  possession  of  the  original,  he 
contrived  dexterously  to  substitute  his  own  copy  in 
its  place.”  The  Duke  satisfied  the  monks  by  giv- 
ing them  more  lands.  It  is  supposed  that  it  was 
afterwards  presented  to  the  Medicean  family,  and 
by  them  given  to  the  house  of  Este  in  exchange  for 
the  Sacrifice  of  Abraham  by  Andrea  del  Sarto.  It 
is  now  in  the  Florentine  gallery. 

PORTRAITS  OF  CORREGGIO. 

Correggio  appears  to  have  been  far  less  solicitous 
than  most  other  painters,  that  his  likeness  should 
be  transmitted  to  posterity,  for  of  him  there  is  no 
unquestioned  portrait  extant.  That  which  is  pre- 
fixed to  his  life,  in  the  Roman  edition  of  Yasari,  is 
evidently  false,  for  it  exhibits  the  head  and  counten- 
ance of  a man  aged  seventy.  It  was  taken  from  a 
collection  of  designs,  in  the  possession  of  Father 
Resta,  to  one  of  which,  representing  a man  and  his 
wife  with  three  sons  and  one  daughter,  in  mean  ap- 
parel, he  gave  the  name  of  the  Family  of  Correg- 
gio, forgetting  that  the  family  consisted  of  three 
daughters  and  one  son. 

Another  portrait,  with  the  title,  Antonins  Cor - 
reygius , and  consequently  supposed  to  be  painted 
by  himself,  was  preserved  in  a villa  which  belonged 
to  the  Queen  of  Sardinia,  near  Turin,  and  engraved 
by  Valperga  ; but  its  authenticity  seems  justly  ques- 
tioned by  Lanzi  and  Pungileoni.  A third,  which 


SCULPTORS,  AND  ARCHITECTS. 


259 


was  sent  from  Genoa  to  England,  bore  an  inscrip- 
tion signifying  that  it  was  the  portrait  of  Maestro 
Antonio  da  Correggio,  by  Dosso  Dossi,  and  was 
accordingly  engraved  for  the  memoirs  of  Correggio 
by  Ratti,  who  obtained  a copy.  Lanzi  is  inclined 
to  infer,  however,  that  it  is  the  portrait  of  Antonio 
Bernieri,  the  miniature  painter,  who  also  bore  the 
name  of  Antonio  da  Correggio. 

A copy  of  this  portrait  is  still  preserved  in  the 
Pinacotheca  Bodoniana,  at  Parma,  and  has  been 
engraved,  first  by  Asioli,  and  since  as  a medallion, 
by  Professor  Rocca,  of  Reggio.  Pungileoni,  who 
is  inclined  to  consider  it  as  genuine,  has  prefixed 
the  medallion  to  his  life  of  Correggio. 

Tiraboschi  and  Pungileoni  mention  other  sup- 
posed portraits  and  busts,  of  questionable  authenti- 
city ; and  Pungileoni,  in  particular,  adverts  to  a 
portrait  still  preserved  near  a door  of  the  cathedral 
at  Parma,  which  is  exhibited  as  a likeness  of  Cor- 
reggio. It  is  supposed  to  have  been  copied  in  the 
middle  of  the  seventeenth  century,  by  Lattanzio 
Gambara,  from  a more  ancient  one  of  this  celebrat- 
ed painter,  in  another  part  of  the  cathedral ; but  its 
authenticity  is  questioned,  merely  on  the  ground 
that  it  represents  a man  of  more  advanced  age 
than  Correggio,  who  only  attained  his  forty-first 
year. 

DID  CORREGGIO  EVER  VISIT  ROME  ? 

The  question  has  been  long  agitated  whether  Cor- 
reggio ever  visited  Rome,  and  profited  by  the  study 


260  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

of  the  antique,  and  the  works  of  RafFaelle  and  Mi 
chael  Angelo ; on  this  point,  the  only  historical  evi- 
dence which  has  been  adduced,  is  a tradition  record- 
ed by  Father  Resta,  and  said  to  have  been.derived 
through  three  generations,  from  the  information  of 
Correggio’s  wife.  As  an  authority  so  light  and 
doubtful  could  not  be  seriously  advanced,  his  bio- 
graphers and  admirers  have  sought  in  his  works  for 
more  valid  traces  of  the  models  to  which  he  recur- 
red. Mengs  contends  that  his  paintings  exhibit 
proofs  of  an  acquaintance  with  the  antique,  and  the 
works  of  Raffaelle  and  Michael  Angelo.  In  the 
head  of  the  Danae,  he  traces  a resemblance  to  that 
of  Venus  de  Medici;  and  in  the  St.  Jerome,  and 
Mercury  teaching  Cupid  to  read,  he  recognises  imi- 
tations of  the  Farnese  Hercules  and  the  Apollo 
Belvidere ; he  also  discovers  a resemblance  to  one 
of  the  children  of  Niobe,  in  the  young  man  who 
endeavors  to  escape  from  the  soldiers,  in  the  pic- 
ture representing  Christ  betrayed  in  the  garden. 
The  countenance  of  the  Magdalen,  in  the  St.  Je- 
rome, he  considers  as  an  imitation  of  Raffaelle  ; and 
in  the  cupola  of  the  church  of  St.  John,  he  perceives 
a similitude  to  the  grand  style  of  Michael  Angelo, 
in  the  frescos  of  the  Vatican.  In  corroboration  of 
this  opinion,  he  adduces  the  sudden  change  which 
is  perceived  in  the  style  of  Correggio  at  an  earlier 
period,  as  a proof  that  he  must  have  seen  and  stu- 
died compositions  superior  to  his  own.  Ratti,  the 
copyist  of  Mengs,  coincides  with  him  in  opinion. 


SCULPTORS,  AND  ARCHITECTS. 


261 


Lanzi  cautiously  adopts  the  same  sentiment ; and 
Tiraboschi,  after  comparing  the  testimony  on  both 
sides,  leaves  the  question  unsettled.  We  cannot 
decide  with  certainty,  that  Correggio  never  visited 
Rome,  and  yet  there  is  no  argument  to  prove  that 
he  ever  saw  that  Capital.  Pungileoni,  with  superior 
advantage  of  research,  pronounces  a contrary  deci- 
sion ; and  affirms,  from  the  evidence  of  the  con- 
tinued series  of  unquestionable  documents,  in  which 
his  presence  is  mentioned  at  Parma,  Correggio,  and 
other  parts  of  Lombardy,  during  a number  of  years, 
that  even  if  he  did  visit  Rome,  his  stay  must  have 
been  limited  to  a very  short  period.  Finally,  this 
opinion  is  corroborated  in  the  assertion  of  Ortensio 
Landi,  who  had  resided  some  time  at  Correggio ; 
and  who,  in  his  Sette  Libri  de  Cataloghi,  printed  at 
Venice  by  Giolito,  as  early  as  1552,  says  of  Correg- 
gio, “ He  was  a noble  production  of  nature,  rather 
than  of  any  master:  he  died  young,  without  being 
able  to  see  Rome.”  Were  all  other  evidence  want- 
ing, this  testimony  of  a cot  emp  or  ary,  who  must  have 
collected  his  information  on  the  spot,  and  who  pub- 
lished it  within  eighteen  years  after  the  death  of 
Correggio,  must  be  allowed  to  carry  great  weight. 

SINGULAR  FATE  OF  CORREGGIO’S  ADORATION  OF 
THE  SHEPHERDS. 

A few  days  before  the  entry  of  the  French  into 
Seville,  during  the  Peninsular  war,  when  the  inhabi- 
tants in  great  consternation  were  packing  up  their 


262  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

most  valuable  effects  to  send  them  to  Cadiz,  a mas- 
terpiece of  Correggio,  in  one  of  the  convents,  rep- 
resenting the  Adoration  of  the  Shepherds,  painted 
on  wood,  was  sawn  in  two,  for  its  more  easy  car- 
riage to  a place  of  safety,  to  preserve  it  from  the 
enemy.  By  some  accident,  the  two  parts  were  se- 
parated on  their  way  to  Cadiz  ; and  on  their  arrival 
in  that  city,  one  part  was  sold  to  one  connoisseur, 
with  the  promise  that  the  part  wanting  should  sub- 
sequently be  delivered  to  him ; while  the  other  part 
was  sold  to  another  connoisseur  under  the  same  en- 
gagement. Both  the  parts  arrived  in  England,  and 
the  possessor  of  each  maintained  that  he  was  enti- 
tled to  the  other. 

It  is  somewhat  remarkable  that  though  the  har- 
mony of  the  picture  is  somewhat  broken  by  the 
separation,  yet  each  part  forms  of  itself  an  admirable 
picture,  and  as  the  rival  proprietors  are  rich  and 
obstinate,  the  parts  are  not  likely  to  be  united.  The 
whole  picture  is  reckoned  to  be  worth  about  4,000 
guineas. 

CURIOUS  HISTORY  OF  CORREGGIO’S  “ EDUCATION 
OF  CUPID.” 

Correggio’s  picture  of  Mercury  teaching  Cupid 
to  read,  in  the  presence  of  Venus,  called  the  Edu- 
cation of  Cupid,  is  one  of  the  most  celebrated 
works  of  art  extant.  It  now  adorns  the  English 
National  Gallery,  and  its  history  is  exceedingly  in- 
teresting. It  was  painted  for  Federigo  Gonzaga, 


SCULPTORS,  AND  ARCHITECTS. 


263 


Duke  of  Mantua,  the  predecessor  of  him  who  a hun- 
dred years  later  patronized  Rubens.  When  Charles 
I.  of  England,  in  1530,  purchased  the  Mantuan  col- 
lection for  £20,000,  this  picture  and  three  others  by 
Correggio  were  included  in  the  bargain.  On  the 
sale  of  the  king’s  effects  by  order  of  parliament,  it 
was  purchased  by  the  Duke  of  Alva,  and  from  his 
family  passed  into  the  hands  of  the  famous  Godoy, 
Prince  of  Peace.  When  his  collection  was  sold  a.t 
Madrid  during  the  French  invasion,  it  was  bought 
by  Murat,  who  took  it  to  Naples,  where  it  adorned 
the  royal  palace.  On  his  fall  from  power,  it  was 
among  the  precious  effects  with  which  his  wife, 
Caroline  Buonaparte,  escaped  to  Rome,  and  thence 
to  Vienna,  where  her  collection  of  pictures  was 
bought  by  the  Marquis  of  Londonderry,  the  Eng- 
lish ambassador,  who  instantly  dispatched  the  two 
Correggios — the  Education  of  Cupid  and  the  Ecce 
Homo — to  London.  They  were  purchased  of  his 
Lordship  by  Parliament  in  1834,  for  10,000  guineas, 
and  now  adorn  the  English  National  Gallery.  Sir 
Thomas  Lawrence  was  allowed  a furtive  glance  at 
these  pictures,  at  Rome,  in  the  hope  that  he  would 
procure  a purchaser  for  them.  He  says  in  a letter, 
I had  them  brought  down  to  me,  and  placed  them 
in  all  lights,  and  I hnou d them  to  be  most  rare  and 
precious.’’  By  his  recommendation,  Mr.  Angerstein 
offered  £6,500  for  the  two,  which  was  declined. 
At  the  time  when  the  Marquis  of  Londonderry 
closed  with  General  M’Donald,  who  was  chamber- 


264  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

lain  to  Madame  Murat,  then  known  as  Countess  Li- 
pona  (this  was  during  the  Congress  of  Sovereigns 
at  Verona  in  1822),  the  Emperor  of  Russia  was  ne- 
gociating  for  them,  and  supposing  that  he  had  a 
right  to  them,  messengers  were  despatched  after 
Londonderry’s  couriers,  but  fortunately  they  were 
not  overtaken,  though  pursued  to  the  Hague. 

MAGDALEN  BY  CORREGGIO. 

In  1837,  Mr.  Atherstone  bought  at  an  auction 
mart  in  London,  a genuine  picture  of  a Magdalen 
by  Correggio,  for  a small  sum.  He  found  it  among 
a parcel  of  rubbish  sent  to  be  sold  by  a gentleman, 
who  had  bought  the  picture  in  Italy  for  ten  pounds, 
without  knowing  anything  of  its  value.  It  was  in 
perfect  preservation,  executed  in  the  greatest  style 
of  Correggio,  surpassing  in  beauty  of  coloring  and 
depth  of  tone  the  famous  specimens  in  the  National 
Gallery ! 

The  writer  can  tell  an  amusing  story  of  a picture 
that  was  not  by  Correggio.  It  was  a small  picture  of 
a Holy  F amily,  on  copper.  It  was  bought  in  N aples, 
for  a very  large  sum,  by  a gentleman  who  resides  not 
many  miles  from  N ew  York,  who  smuggled  it  out  of 
the  country.  On  his  arrival  home,  wishing  to  im- 
prove the  brilliancy  of  the  coloring,  which  appeared 
much  obscured  by  the  smoke  and  dust  of  many  years, 
he  sent  it  to  a skillful  artist  to  be  cleaned,  who,  on 
removing  the  plentiful  coats  of  varnish,  soon  disco- 
vered that  it  was  nothing  but  a transfer . The  art- 


SCULPTORS,  AND  ARCHITECTS. 


265 


ist  gently  hinted  to  the  connoisseur  that  he  had  been 
duped.  “ Zounds,  sir,  this  cannot  be  ; the  picture 
was  valued  at  $5,000  in  Naples,  and  I was  offered 
very  large  prices  for  it  by  some  of  the  best  judges 
in  Paris.”  The  artist,  with  a little  spirits,  quickly 
brought  the  lines  of  a print  into  full  view,  so  that 
not  even  a glass  was  required  to  see  them ! It  is 
needless  to  say  that  the  proprietor  was  greatly 
chagrined,  and  vented  his  rage  in  curses  loud  and 
deep  against  foreign  impostors.  Yet  he  ordered 
the  coats  of  varnish  to  be  replaced,  and  afterwards 
sold  the  picture  as  an  original  Correggio. 

DISCOVERY  OF  A.  CORREGGIO. 

Among  the  numerous  restorers  of  old  pictures 
who  resided  at  Rome  about  1780,  were  two  friends, 
an  Italian  named  Lovera,  and  a German  named 
Hunterspergh.  They  were  both  pupils  of  the  Cav- 
aliere  Mengs.  They  frequented  the  sales  of  old  pic- 
tures at  the  Piazza  Nuova,  as  well  to  purchase  the 
works  of  the  old  masters  at  a low  price,  as  to  sup- 
ply themselves  with  old  canvass,  which  they  might 
repaint.  On  one  occasion,  having  bought  a lot  of 
old  canvass  and  divided  it  between  them,  Lovera 
received  as  a part  of  his  share  a very  indifferent 
flower-piece.  On  taking  it  home,  he  found  that 
the  ground  scaled  off,  and  to  his  surprise  discovered 
traces  of  a figure  painted  in  an  admirable  style.  He 
employed  himself  with  the  utmost  care  in  removing 
the  ground  which  covered  the  original  picture,  and 


266 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


thus  restored  a capital  performance,  representing 
Charity,  under  the  emblem  of  a Woman  surround- 
ed by  three  Children.  The  report  of  this  happy 
discovery  soon  spread ; all  the  artists  and  amateurs 
ran  to  behold  it.  The  best  judges,  among  whom 
was  Mengs,  acknowledged  the  genuine  style  of  Cor- 
reggio, and  valued  the  performance  at  £2,000.  The 
Earl  of  Bristol  bought  it  from  Lovera  for  about 
£1,500.  An  engraving  has  since  been  made  from 
it.  The  value  was  afterwards  the  subject  of  a suit 
at  law  between  Hunterspergh  and  Lovera. 

LIONARDO  DA  VINTCI. 

This  illustrious  artist,  denominated  by  Lanzi  “ the 
Father  of  Modern  Painting,”  was  also  an  eminent 
sculptor,  architect,  and  engineer,  the  natural  son  of 
Pietro  da  Yinci,  notary  to  the  Florence  Republic. 
Vasari  and  his  annotators  place  his  birth  in  1445  ; 
but  Durazzini,  in  his  Panegyrics  on  Illustrious  Tus- 
cans, satisfactorily  proves  that  he  was  born  in  Lower 
Valdarno,  at  the  castle  of  Yinci,  in  1452. 

PRECOCITY  OF  DA  VINCl’s  GESTITJS. 

At  a very  early  age,  Lionardo  da  Yinci  showed 
remarkably  quick  abilities  for  everything  he  turned 
his  attention  to,  but  more  particularly  for  arithmetic, 
music,  and  drawing.  His  drawings  appeared  some- 
thing wonderful  to  his  father,  who  showed  them  to 
Andrea  Verocchio,  and  that  celebrated  artist,  great- 


SCULPTORS,  AND  ARCHITECTS. 


267 


ly  surprised  at  seeing  productions  of  such  merit  from 
an  uninstructed  hand,  willingly  took  Lionardo  as  a 
pupil.  He  was  soon  much  more  astonished  when 
he  perceived  the  rapid  progress  his  pupil  made  ; he 
felt  his  own  inferiority,  and  when  Lionardo  painted 
an  angel  in  a picture  of  the  Baptism  of  Christ,  in 
S.  Salvi  at  Vallombrosa,  so  much  superior  to  the 
other  figures  that  it  rendered  the  inferiority  of  Ve- 
rocchio  apparent  to  all,  he  immediately  relinquished 
the  pencil  for  ever.  This  picture  is  now  in  the 
academy  at  Florence.  The  first  original  work  by 
Lionardo,  mentioned  by  Vasari,  was  the  so-called 
Rotella  del  Fico,  a round  board  of  a fig-tree,  upon 
which  his  father  requested  him  to  paint  something 
for  one  of  his  tenants.  Lionardo,  wishing  to  asto- 
nish his  father,  determined  to  execute  something 
extraordinary,  that  should  produce  the  effect  of  the 
Head  of  Medusa  ; and  having  prepared  the  rotella, 
and  covered  it  with  plaster,  he  collected  almost 
every  kind  of  reptile,  and  composed  from  them  a 
monster  of  most  horrible  appearance;  it  seemed 
alive,  its  eyes  flashed  fire,  and  it  appeared  to 
breathe  destruction  from  its  open  mouth.  The  pic- 
ture produced  the  desired  effect  upon  his  father, 
who  thought  it  so  wonderful  that  he  carried  it  im- 
mediately to  a picture  dealer  in  Florence,  sold  it 
for  a hundred  ducats,  and  purchased  for  a trifle  an 
ordinary  piece  for  his  tenant. 


268 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


EXTRAORDINARY  TALENTS  OF  DA  VINCI. 

Lionardo  da  Vinci  was  endowed  by  nature  with 
a genius  uncommonly  elevated  and  penetrating, 
eager  after  discovery,  and  diligent  in  the  pursuit, 
not  only  in  what  related  to  painting,  sculpture,  and 
architecture,  but  in  mathematics,  mechanics,  hydro- 
statics, music,  poetry,  botany,  astronomy,  and  also 
in  the  accomplishments  of  horsemanship,  fencing, 
and  dancing.  Unlike  most  men  of  versatile  talent, 
he  was  so  perfect  in  all  these,  that  when  he  per- 
formed any  one,  the  beholders  were  ready  to  ima- 
gine that  it  must  have  been  his  sole  study.  To  such 
vigor  of  intellect  he  joined  an  elegance  of  features 
and  manners,  that  graced  the  virtues  of  his  mind ; 
he  was  affable  with  strangers,  with  citizens,  with 
private  individuals,  and  with  princes.  This  extra- 
ordinary combination  of  qualities  in  a single  man, 
soon  spread  his  fame  over  all  Italy. 

DA  YINCl’s  WORKS  AT  MILAN. 

In  1494,  Da  Vinci  was  invited  to  Milan  by  the 
Duke  Lodovico  Sforza,  who  appointed  him  Director 
of  the  Academy  of  Painting  and  Architecture, 
which  he  had  recently  revived  with  additional  splen- 
dor and  encouragement.  During  his  residence 
there,  he  painted  but  little,  with  the  exception  of  his 
celebrated  picture  of  the  Last  Supper,  a description 
of  which  will  be  found  in  a subsequent  article.  As 


SCULPTORS,  AND  ARCHITECTS. 


269 


Director  of  the  Academy,  he  banished  all  the  dry, 
gothic  principles  established  by  his  predecessor,  Mi- 
chelino,  and  introduced  the  beautiful  simplicity  and 
purity  of  the  Grecian  and  Roman  styles.  Lanzi  says 
that  in  this  capacity,  “ he  left  a degree  of  refinement 
at  Milan,  so  productive  of  illustrious  pupils  that  this 
period  may  be  ranked  as  the  most  glorious  era  of 
his  life.”  The  Duke  engaged  Lionardo  in  the  stu- 
pendous project  of  conducting  the  waters  of  the 
Adda,  from  Mortesana,  through  the  Valteline,  and 
the  valley  of  the  Chiavenna  to  the  walls  of  Milan,  a 
distance  of  nearly  two  hundred  miles.  Sensible  of 
the  greatness  of  this  undertaking,  Lionardo  applied 
himself  more  closely  to  those  branches  of  philoso- 
phy and  mathematics  which  are  most  adapted  to 
mechanics,  and  finally  accomplished  this  immense 
work,  greatly  to  the  astonishment  and  admiration 
of  all  Italy.  He  executed  the  model  for  a colossal 
bronze  equestrian  statue  of  the  Duke’s  father,  Fran- 
cesco Sforza,  and  would  have  comjdeted  it,  but  the 
Duke’s  affairs  were  becoming  greatly  embarrassed, 
so  that  the  necessary  metal  (200,000  lbs.)  was  not 
furnished.  In  1500,  Lodovico  Sforza  was  over- 
thrown in  battle  by  the  French,  made  prisoner,  and 
conducted  to  France,  where  he  soon  after  died  in 
the  castle  of  Loches.  The  Academy  was  sup- 
pressed, the  professors  dispersed,  and  Lionardo, 
after  losing  all,  was  obliged  to  quit  the  city,  and 
take  refuge  in  Florence. 


270 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


da  Vinci’s  “ battle  of  the  standard.” 

Soon  after  Leonardo’s  return  to  Florence,  in  1503, 
he  was  commissioned  by  the  Gonfaloniere  Soderini 
to  decorate  one  side  of  the  Council  Hall  of  the  Pa- 
lazzo Yecchio,  while  Michael  Angelo  was  engaged 
to  paint  the  opposite  side.  Lionardo  selected  the 
battle  in  which  the  Milanese  general,  Niccolo  Pic- 
cinino,  was  defeated  by  the  Florentines  at  Anghi- 
ari,  near  Borgo  San  Sepolcro.  This  composition, 
of  which  he  only  made  the  cartoon  of  a part,  was 
called  the  Battle  of  the  Standard ; it  represents  a 
group  of  horsemen  contending  for  a standard,  with 
various  accessories.  Yasari  praises  the  beauty  and 
anatomical  correctness  of  the  horses,  and  the  cos- 
tumes of  the  soldiers.  Lanzi  says  it  was  never  exe- 
cuted, after  his  failing  in  an  attempt  to  paint  it  in  a 
new  method  upon  the  wall,  but  Lucini  afterwards 
represented  it  in  a painting  which  is  in  the  Ambro- 
sian Library  at  Milan,  esteemed  one  of  the  finest 
works  in  that  collection.  The  fame  of  this  contest 
between  the  two  great  artists,  caused  great  excite- 
ment, and  induced  Raffaelle,  who  had  recently  quit- 
ted the  school  of  Perugino,  to  visit  Florence.  The 
grace  and  delicacy  of  Lionardo’s  style,  compared 
with  the  dry  and  gothic  manner  of  Perugino,  exci- 
ted the  admiration  of  the  young  painter,  and  in- 
spired him  with  a more  modern  taste. 


SCULPTORS,  AND  ARCHITECTS. 


271 


UONARDO  DA  VINCI  AND  LEO  X. 

The  patronage  extended  to  the  arts  by  Leo  X., 
induced  Lionardo  to  visit  Rome.  Accordingly,  in 
1514,  he  went  to  that  metropolis,  in  the  train  of  Duke 
Giuliano  de  Medici,  by  whom  he  was  introduced  to 
the  Pope,  who  soon  after  signified  bis  intention  of 
employing  Lionardo’ s pencil.  Upon  this,  the  paint- 
er began  to  distil  his  oils  and  prepare  his  varnishes, 
which  the  Pope  seeing,  exclaimed  with  surprise, 
that  “ nothing  could  be  expected  of  a painter  who 
thought  of  finishing  his  works  before  he  had  begun 
them.”  This  want  of  courtesy  in  the  Pope  offended 
Lionardo,  and  according  to  Yasari,  was  the  reason 
why  he  immediately  quitted  Rome  in  disgust.  It 
is  probable,  however,  that  the  talents  and  fame  of 
Buonarotti  and  Raffaelle  had  more  to  do  with  pro- 
ducing the  dissatisfaction  of  this  great  painter,  who 
was  then  declining  into  the  vale  of  years. 

LIONARDO  DA  VINCI  AND  ERANCIS  I. 

Francis  I.  of  France  was  not  only  a liberal  patron 
of  Lionardo  da  Yinci,  but  entertained  for  him  a 
strong  personal  friendship.  He  gave  4000  gold 
crowns  for  his  celebrated  portrait  of  Mona  Lisa,  the 
wife  of  Francesco  Giocondo,  which  occupied  Yinci 
four  years.  When  Lionardo  was  advanced  in  years, 
and  his  health  declining,  he  took  him  into  his  ser- 
vice, treated  him  with  the  greatest  kindness,  and 
gave  him  a pension  of  700  crowns  annually.  The 


272  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

King  delighted  in  the  society  of  Da  Vinci,  and 
when  his  courtiers  ventured  to  express  their  surprise 
that  he  should  prefer  his  company  to  theirs,  he  re- 
buked them  by  saying,  that  “ he  could  make  as  many 
lords  as  he  chose,  but  that  God  alone  could  make 
a Lionardo  da  Vinci.” 

DEATH  OF  DA  VINCI. 

This  great  artist  expired  at  Fontainbleau  on  the 
2d  day  of  May,  1519,  aged  sixty-seven  years.  His 
health  had  been  gradually  failing  for  several  years, 
and  Vasari  relates,  that  Francis  I.  having  honored 
him  with  a visit  in  his  dying  moments,  Lionardo, 
deeply  affected  at  this  testimony  of  his  regards, 
raised  himself  in  the  bed  to  express  his  thanks  and 
gratitude,  when  falling  back  exhausted,  the  King 
caught  him,  and  he  expired  in  his  arms. 

DA  VINCI’S  LEARNING. 

Lionardo  da  Vinci  was  one  of  the  most  learned, 
accomplished,  and  eminent  men  of  the  15th  century. 
Hallam  says  of  him,  “ The  discoveries  which  made 
Galileo  and  Kepler,  Maestlin,  Maurolicus,  Castelli, 
and  other  names  illustrious,  the  system  of  Coperni- 
cus, the  very  theories  of  recent  geologists,  are  antici- 
pated by  Lionardo  da  Vinci,  within  the  compass  of 
a very  few  pages,  not  perhaps  in  the  most  precise 
language,  or  on  the  most  conclusive  reasoning,  but  so 
as  to  strike  us  with  something  like  the  awe  of  pre- 


SCULPTORS,  AND  ARCHITECTS. 


273 


ternatural  knowledge.  In  an  age  of  so  much  dog- 
matism, he  first  laid  down  the  grand  principle  of 
Bacon,  that  experiment  and  observation  must  be  the 
guides  to  just  theory  in  the  investigation  of  nature.” 
His  scientific  knowledge  proved  the  means  of  con- 
ferring incalculable  benefits  upon  the  art  of  paint- 
ing, one  of  the  most  important  of  which  was  the 
invention  of  the  chiaro-scuro.  His  intimate  acquaint- 
ance with  mathematical  studies  enabled  him  to  de- 
velope  greatly  the  knowledge  of  optics,  and  no  one 
was  better  acquainted  with  the  nature  of  aerial  per- 
spective, which  became  a distinctive  and  hereditary 
characteristic  of  his  school.  Lanzi  says,  “ Being  ex- 
tremely well  versed  in  poetry  and  history,  it  was 
through  him  that  the  Milanese  school  became  one 
of  the  most  accurate  and  observing  in  regard  to  an- 
tiquity and  to  costume.  Mengs  has  noticed  that  no 
artist  could  surpass  Yinci  in  the  grand  effect  of  his 
chiaro-scuro.  He  instructed  his  pupils  to  make  as 
cautious  a use  of  light  as  of  a gem,  not  lavishing  it 
too  freely,  but  reserving  it  always  for  the  best  place. 
And  hence  we  find  in  his,  and  in  the  best  of  his  dis- 
ciples’ paintings,  that  fine  relief,  owing  to  which  the 
pictures,  and  in  particular  the  countenances,  seem 
as  if  starting  from  the  canvass.” 

DA  VINCl’s  WRITINGS. 

Almost  of  equal  value  with  the  pictures  of  this 
immortal  artist,  are  his  writings,  part  of  which,  un- 


274  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

fortunately,  have  been  lost,  and  others  have  remain- 
ed in  manuscript.  His  Trattato  della  Pittura , &c., 
appeared  for  the  first  time  in  1651.  It  was  trans- 
lated into  English,  and  published  by  John  Senex, 
London,  1721.  The  most  complete  edition  was  pub- 
lished by  Manzi,  in  Italian,  in  1817.  The  learned 
connoisseur  Count  Algarotti,  esteemed  this  work  so 
highly,  that  he  regarded  it  the  only  work  necessary 
to  be  put  into  the  hands  of  the  student.  “ With  a 
deep  insight  into  nature,”  says  Fiorillo,  “ Lionardo 
has  treated  in  his  book,  of  light,  shades,  reflections, 
and  particularly  of  backgrounds.  He  perfectly  un- 
derstood, and  has  explained  in  the  best  way,  that 
natural  bodies  being  bounded  mostly  by  curved  lines, 
which  have  a natural  softness,  it  is  important  to  give 
this  softness  to  the  outlines;  that  this  can  be  done 
only  by  means  of  the  ground  on  which  the  object  is 
represented ; that  the  inner  line  of  the  surrounding 
ground,  and  the  outer  line  of  the  object,  are  one  and 
the  same ; nay,  that  the  figure  of  the  object  becomes 
visible  only  by  means  of  that  which  surrounds  it ; 
that  even  the  colors  depend  upon  the  surrounding 
objects,  and  mutually  weaken  and  heighten  each 
other ; that  when  objects  of  the  same  color  are  to  be 
represented,  one  before  the  other,  different  degrees 
of  light  must  be  used  to  separate  them  from  each 
other,  since  the  mass  of  air  between  the  eye  and 
the  object  lessens  and  softens  the  color  in  propor- 
tion to  the  distance.”  Among  the  works  of  Da 
Vinci,  were  Treatises  on  Hydraulics,  Anatomy,  Per- 


SCULPTORS,  AND  ARCHITECTS. 


275 


spective,  Light  and  Shadow,  and  the  Anatomy  of 
the  Horse.  The  Ambrosian  Library  of  Milan  origi- 
nally possessed  sixteen  volumes  of  his  manuscripts. 
The  French,  during  their  occupancy  of  Milan,  car- 
ried off  twelve  of  these  (probably  all  there  were 
then  remaining),  but  only  three  of  them  reached  Pa- 
ris, one  of  which  was  published  under  the  title  of 
Fragment  (Pun  Traite  sur  les  Mouvements  du  corps 
humain.  Only  one  volume  was  returned  to  Milan 
by  the  Allies  in  1815.  What  abominable  sacrilege  ! 
It  is  said  that  seven  volumes  more  of  his  manu- 
scripts were  in  the  collection  of  the  King  of  Spain. 

DA  VINCl’s  SKETCH  BOOKS. 

Da  Vinci  always  carried  in  his  pocket  a book,  in 
which  he  was  in  the  habit  of  sketching  every  re- 
markable face,  object,  and  effect  of  nature  that 
struck  his  fancy;  and  these  sketches  supplied  him 
with  abundant  materials  for  his  compositions.  Cav- 
lus  published  a collection  of  beautiful  sketches  and 
studies  by  Lionardo,  under  the  title  of  JRecueil  de 
Tetes  de  Caracteres  et  de  Charges , &c.,  1730,  of 
which  there  is  also  a German  edition.  Two  more 
were  published  at  Milan  in  1784,  under  the  titles  of 
Desseins  de  Leonardo  da  Vinci , Graves  par  Ch.  T. 
Gerli , and  Osservazioni  sopra  iDisegni  di  Lionar- 
do dalV  Abbate  Amoretti , &c.  Besides  these  appear- 
ed in  London  in  1796,  engravings  of  the  numerous 
sketches  of  Lionardo  in  the  possession  of  the  King 


276  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

of  England,  entitled  Imitations  of  Original  De- 
signs of  Lionardo  da  Vinci , &c.,  published  by 
Chamberlaine,  folio.  See  also  the  life  of  Lionardo 
da  Vinci  in  German,  published  at  Halle  in  1819. 

THE  LAST  SUPPER  OF  LIONARDO  DA  VINCI. 

“His  Last  Supper  has  been  stated  in  history 
as  an  imperfect  production,  although  at  the  same 
time  all  history  is  agreed  in  celebrating  it  as  one 
of  the  most  beautiful  paintings  that  ever  pro- 
ceeded from  the  hand  of  man.  It  was  painted  for 
the  Refectory  of  the  Dominican  fathers  at  Milan, 
and  may  be  pronounced  a compendium,  not  only 
of  all  that  Lionardo  taught  in  his  books,  but  also 
of  what  he  embraced  in  his  studies.  He  here  gave 
expression  to  the  exact  point  of  time  best  adapted 
to  animate  his  history,  which  is  the  moment  when 
the  Redeemer  addresses  his  disciples,  saying,  ‘One 
of  you  will  betray  me.’  Then  each  of  his  innocent 
followers  is  seen  to  start  as  if  struck  with  a thunder- 
bolt ; those  at  a distance  seem  to  interrogate  their 
companions,  as  if  they  think  they  must  have  mis- 
taken what  he  had  said  ; others,  according  to  their 
natural  disposition,  appear  variously  affected  ; one 
of  them  swoons  away,  one  stands  lost  in  astonish- 
ment, a third  rises  in  indignation,  while  the  very 
simplicity  and  candor  depicted  upon  the  counte- 
nance of  a fourth,  seem  to  place  him  beyond  the 
reach  of  suspicion.  But  Judas  instantly  draws  in  his 
countenance,  and  while  he  appears  as  it  were  at- 


SCULPTORS,  AND  ARCHITECTS. 


277 


tempting  to  give  it  an  air  of  innocence,  the  eye  rests 
upon  him  in  a moment,  as  the  undoubted  traitor. 
Yinci  himself  used  to  observe  that  for  the  space  of 
a whole  year  he  employed  his  time  in  meditating 
how  he  could  best  give  expression  to  the  features  of 
so  bad  a heart ; and  that  being  accustomed  to  fre- 
quent a place  where  the  worst  characters  were 
known  to  assemble,  he  there  met  with  a physiog- 
nomy to  his  purpose ; to  which  he  also  added  the 
features  of  many  others.  In  his  figures  of  the  two 
saints  James,  presenting  fine  forms,  most  appro- 
priate to  the  characters,  he  availed  himself  of  the 
same  plan,  and  being  unable  with  his  utmost  dili- 
gence to  invest  that  of  Christ  with  a superior  air  to 
the  rest,  he  left  the  head  in  an  unfinished  state,  as 
we  learn  from  Yasari,  though  Armenini  pronounced 
it  exquisitely  complete.  The  rest  of  the  picture, 
the  table-cloth  with  its  folds,  the  whole  of  the  uten- 
sils, the  table,  the  architecture,  the  distribution  of 
the  lights,  the  perspective  of  the  ceiling  (which,  in 
the  tapestry  of  S.  Pietro,  at  Rome,  is  changed  al- 
most into  a hanging  garden),  all  was  conducted 
with  the  most  exquisite  care ; all  was  worthy  of  the 
finest  pencil  in  the  world.  Had  Lionardo  desired 
to  follow  the  practice  of  his  age  in  painting  in 
fresco,  the  art  at  this  time  would  have  been  in  pos- 
session of  this  treasure.  But  being  always  fond  of 
attempting  new  methods,  he  painted  this  master- 
piece upon  a peculiar  ground,  formed  of  distilled 
oils  which  was  the  reason  that  it  gradually  de- 


278  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

tached  itself  from  the  wall.  About  half  a century 
subsequent  to  the  execution  of  this  wonderful  work, 
when  Armenini  saw  it,  it  was  already  half  decayed: 
and  Scanelli,  who  examined  it  in  1642,  declared 
that  it  c icas  with  difficulty  he  could  discern  the  his- 
tory as  it  had  been?  Nothing  now  remains  except 
the  heads  of  three  apostles,  which  may  be  said  to 
be  rather  sketched  than  painted.” — Lanzi. 

COPIES  OF  THE  LAST  SUPPER  OF  DA  VINCI. 

The  great  loss  of  the  original  picture  is  in  some  . 
measure  compensated  by  several  excellent  copies, 
some  of  which  are  by  Lionardo’s  most  eminent  dis- 
ciples ; the  best  are,  that  by  Marco  Uggione,  at  the 
Carthusians  of  Pavia  ; another  in  the  Refectory  of 
the  Franciscans  at  Lugano,  by  Bernardino  Luini; 
and  one  in  La  Pace  at  Milan,  by  Gio.  Paolo  Lomaz- 
zo.  Fuseli,  lecturing  on  the  copy  by  Marco  Uggi- 
one, says,  “ the  face  of  the  Saviour  is  an  abyss  of 
thought,  and  broods  over  the  immense  revolution  in 
the  economy  of  mankind,  which  throngs  inwardly 
on  his  absorbed  eye — as  the  Spirit  creative  in  the 
beginning  over  the  water’s  darksome  wave — undis- 
turbed and  quiet.  It  could  not  be  lost  in  the  copy 
before  us ; how  could  its  sublime  expression  escape 
those  who  saw  the  original  ? It  has  survived  the 
hand  of  time  in  the  study  which  Lionardo  made  in 
crayons,  exhibited  with  most  of  the  attendant  heads 
in  the  British  Gallery,  and  even  in  the  feeble  trans- 
cripts of  Pietro  Testa.  I am  not  afraid  of  being 


SCULPTORS,  AND  ARCHITECTS. 


279 


under  the  necessity  of  retracting  what  I am  going 
to  advance,  that  neither  during  the  splendid  period 
immediately  subsequent  to  Lionardo,  nor  in  those 
which  succeeded  to  our  own  time,  has  a face  of  the 
Redeemer  been  produced,  which,  I will  not  say 
equalled,  but  approached  Lionardo’s  conception, 
and  in  quiet  and  simple  features  of  humanity,  em- 
bodied divine,  or  what  is  the  same,  incomprehensible 
and  infinite  powers.”  In  1825,  Prof.  Phillips  exam- 
ined the  remains  of  this  picture,  and  says,  “Of  the 
heads,  there  is  not  one  untouched,  and  many  are 
totally  ruined.  Fortunately,  that  of  the  Saviour  is 
the  most  pure,  being  but  faintly  retouched : and  it 
presents,  even  yet,  a most  perfect  image  of  the  Di- 
vine character.  Whence  arose  the  story  of  its  not 
having  been  finished,  is  now  difficult  to  conceive, 
and  the  history  itself  varies  among  the  writers  who 
have  mentioned  it.  But  perhaps  a man  so  scrupu- 
lous as  Lionardo  da  Vinci,  in  the  definement  of 
character  and  expression,  and  so  ardent  in  his  pur- 
suit of  them,  might  have  expressed  himself  unsatis- 
fied, where  all  others  could  only  see  perfection.” 

DA  VINCl’s  DISCRIMINATION. 

Lionardo  da  Vinci  possessed  the  rare  faculty  of 
being  able  to  ascertain  the  just  medium  between 
hasty  and  labored  work  ; and  though  very  minute 
'm  the  finishing  of  his  pictures,  yet  he  painted  in  a 
free  and  unrestrained  style.  The  same  master  who 
‘.onsumed  four  years  ®n  the  portrait  of  Mona  Lisa 


280 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


Giocondo,  gave  one  of  the  earliest  and  best  lessons 
to  the  age,  in  the  great  style,  in  his  memorable 
painting  of  the  Last  Supper.  This  power  of  at- 
tending at  the  same  moment  to  the  minutiae  of  de- 
tail, and  to  the  grand  and  leading  principles  of  the 
art  or  science  in  which  a person  may  be  employed, 
shows  a species  of  universality  of  power  that  may 
be  reckoned  among  the  highest  perfections  of  the 
human  mind  ; and  it  places  Da  Yinci  not  merely  in 
the  rank  of  the  first  of  painters,  but  of  the  greatest 
of  men. 

DA  VINCl’s  IDEA  OF  PERFECTION  IN  ART. 

Da  Vinci  was  never  satisfied  with  his  works,  and 
Lanzi  finds  the  same  fault  with  him  that  Apelles  did 
with  Protogenes — his  not  knowing  when  to  take  his 
hand  from  his  wrork.  Phidias  himself,  says  Tully, 
bore  in  his  mind  a more  beautiful  Minerva  and  a 
grander  Jove  than  he  was  capable  of  exhibiting 
with  his  chisel.  It  is  prudent  counsel  that  teaches 
us  to  aspire  to  the  best,  but  to  rest  satisfied  with 
attaining  what  is  good.  “ Yinci,”  says  Lanzi, was 
never  satisfied  with  his  labors,  if  he  did  not  execute 
them  as  perfectly  as  he  had  conceived  them  ; and 
being  unable  to  reach  the  high  point  proposed  with 
a mortal  hand,  he  sometimes  only  designed  his 
work,  or  conducted  it  only  to  a certain  degree  of 
completion.  . Sometimes  he  devoted  to  it  so  long  a 
period  as  almost  to  renew  the  example  of  the  an- 
cient who  employed  seven  years  over  his  picture 


SCULPTORS,  AND  ARCHITECTS. 


281 


(Protogenes’  Ialysus  and  his  dog).  But  as  there 
was  no  limit  to  the  discovery  of  fresh  beauties  in 
that  work,  so  in  the  opinion  of  Lomazzo  it  happens 
with  the  perfections  of  Vinci’s  paintings,  including 
even  those  which  Vasari  and  others  allude  to  as 
left  imperfect.”  Lanzi  says  it  is  certain  that  he  left 
some  of  his  works  only  half  finished.  “ Such  is  his 
Epiphany,  in  the  Ducal  Gallery  at  Florence,  and 
his  Holy  Family,  in  the  Archbishop’s  palace  at  Mi- 
lan.” Others  he  finished  in  the  most  exquisite  man- 
ner. “ He  was  not  satisfied  with  only  perfecting 
the  heads,  counterfeiting  the  shining  of  the  eyes, 
the  pores  of  the  skin,  the  roots  of  the  hair,  and 
even  the  beating  of  the  arteries  ; but  he  likewise  \ 
portrayed  each  separate  garment,  and  every  acces- 
sory with  equal  minuteness.  Thus  in  his  landscapes, 
also,  there  was  not  a single  herb,  or  leaf  of  a tree, 
which  he  had  not  taken,  like  a portrait,  from  the 
face  of  nature  ; and  even  to  his  very  leaves  he  gave 
a peculiar  air,  fold,  and  position  best  adapted  to  rep- 
resent their  rustling  in  the  wind.  While  he  be- 
stowed his  attention  in  this  manner  to  minutiae,  he 
at  the  same  time,  as  is  observed  by  Mengs,  led  the 
way  to  a more  enlarged  and  dignified  style ; entered 
into  the  most  abstruse  inquires  as  to  the  source  and 
nature  of  expression — the  most  philosophical  and 
elevated  branch  of  the  art — and  smoothed  the  way 
for  the  appearance  of  Raffaelle.”  Yinci  spent  four 
years  on  his  portrait  of  Mona  Lisa  Giocondo. 


282 


ANECDOTES  OF  PAINTERS,  ENGRAVERS. 


DA  VINCI  AND  THE  PRIOR. 

The  Last  Supper  of  Lionardo  da  Yinci  was  paint- 
ed in  the  Refectory  of  the  Dominican  convent  of  S. 
Maria  della  Grazia,  at  Milan.  It  was  considered 
one  of  the  proudest  monuments  of  that  city.  While 
forming  the  plan  of  its  composition,  Da  Yinci  medi- 
tated profoundly  on  the  subject;  and  having  pre- 
pared himself  by  long  study,  and  above  all  by  a 
closer  examination  of  nature,  he  began  the  execu- 
tion by  repeated  sketches,  both  of  the  whole  design, 
and  of  all  its  individual  parts.  He  used  to  frequent 
the  accustomed  haunts  of  persons  resembling,  in 
their  character  and  habits,  those  whom  he  was 
about  to  introduce  in  his  picture  ; and  as  often  as 
he  met  with  any  attitudes,  groups,  or  features  which 
suited  his  purpose,  he  sketched  them  in  his  tablets, 
which  he  always  carried  with  him.  Having  nearly 
finished  the  other  apostles  in  this  way,  he  had  left 
the  head  of  Judas  untouched  for  a long  time,  as  he 
could  find  no  physiognomy  which  satisfied  him,  or 
came  up  to  the  ideas  he  had  formed  of  such  a vil- 
lainous and  treacherous  character. 

The  prior  of  the  convent  grew  impatient  at  being 
so  long  incommoded  in  that  essential  branch  of  mo- 
nastic discipline  which  was  carried  on  in  the  refec- 
tory or  dining  hall,  where  the  picture  was  being 
painted,  and  complained  to  the  Grand  Duke,  who 
called  on  the  artist  to  explain  the  delay.  Da  Yinci 


SCULPTORS,  AND  ARCHITECTS. 


283 


excused  himself  by  saying  that  he  worked  at  it  twc 
whole  hours  every  day.  The  pious  head  of  the 
house  renewed  his  representations  with  great 
warmth,  and  alleged  that  Lionardo  had  only  one  head 
to  finish ; and  that  so  far  from  working  two  hours  a 
day,  he  had  not  been  near  the  place  for  almost  twelve 
months.  Again  summoned  before  the  prince,  the 
painter  thus  defended  himself.  “ It  is  true  I have  not 
entered  the  convent  for  a long  time  ; but  it  is  not 
less  true  that  I have  been  employed  every  day  at 
least  two  hours  upon  the  picture.  The  head  of  Ju- 
das remains  to  be  executed,  and  in  order  to  give  it 
a physiognomy  suitable  to  the  excessive  wickedness 
of  the  character,  I have  for  more  than  a year  past 
been  daily  frequenting  the  JBorghetto,  morning  and 
evening,  where  the  lowest  refuse  of  the  capital 
live  ; but  I have  not  yet  found  the  features  I am  in 
quest  of.  These  once  found,  the  picture  shall  be 
finished  in  a day.  If,  however,”  he  added,  u I still 
am  unsuccessful  in  my  search,  I shall  rest  satisfied 
with  the  face  of  the  Prior  himself,  which  would 
suit  my  purpose  extremely  well ; only  that  I have 
for  a long  time  been  hesitating  about  taking  such  a 
liberty  with  him  in  his  own  convent.”  It  is  hardly 
necessary  to  add  that  the  Duke  was  perfectly  sat- 
isfied with  this  apology.  The  artist  soon  after  met 
with  his  Judas,  and  finished  his  great  work.  It  is 
stated  by  several  Italian  writers  that  Da  Vinci,  out 
of  revenge,  did  actually  take  this  liberty  with  the 
prior. 


284 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


DA  VINCl’s  DRAWINGS  OF  THE  HEADS  IN  HIS  CELE- 
BRATED LAST  SUPPER. 

The  series  of  drawings  for  the  celebrated  work 
of  the  Last  Supper,  which  were  formerly  in  the 
Ambrosian  Library  at  Milan,  are  now  in  the  posses- 
sion of  Sir  Thomas  Baring.  From  the  great  inju- 
ries which  that  sublime  composition  has  sustained, 
these  may  be  considered  as  among  the  most  precious 
reliques  of  this  master.  The  drawing  which  repre- 
sents the  head  of  the  Saviour  is  magnificent,  and 
probably  superior  to  the  same  head  in  the  pic- 
ture, which  is  said  to  have  been  left  unfinished. 
Whether  this  circumstance  arose  from  the  troubles 
which  then  existed  in  Italy,  and  in  which  the 
Sforza  family  were  so  immediately  engaged,  or 
from  a feeling  on  the  part  of  the  artist,  that  he  had 
not  been  able  to  surpass  that  sublimity  of  charac- 
ter to  which  he  had  attained  in  his  first  design,  and 
therefore  left  the  same  to  a more  happy  moment, 
may  now  be  matter  of  speculative  conjecture. 

FRANCIS  I.  AND  THE  LAST  SUPPER  OF  VINCI. 

Francis  I.  was  so  struck  with  admiration  when  he 
first  saw  the  Last  Supper  of  Da  Yinci,  that  he  re- 
solved to  carry  it  to  France.  For  this  purpose  he 
attempted  to  saw  it  from  the  wall ; but  finding  that 
he  could  not  detach  it  without  destroying  the  pic- 
ture, he  abandoned  the  project. 


SCULPTORS,  AND  ARCHITECTS. 


285 


AUTHENTICATED  WORKS  OF  DA  VINCI. 

The  authenticated  works  of  Da  Yinci  are  exceed- 
ingly scarce  ; he  bestowed  so  much  labor  upon  them 
that  they  were  never  very  numerous,  and  time  and 
casualty  has  reduced  the  number.  It  is  said  that 
one  of  the  proprietors  of  the  Orleans  collection  de- 
stroyed some  of  the  most  capital  works  of  Da  Yinci 
and  Correggio  from  conscientious  scruples ! The 
most  celebrated  are  the  Mona  Lisa  Giocondo,  in  the 
Louvre ; a lovely  picture  called  La  Vierge  aux  Ro- 
chers  ; a Led  a,  in  the  collection  of  Prince  Kaunitz 
at  Vienna  ; Christ  disputing  with  the  Doctors,  in  the 
Pamfili  palace  at  Rome  ; John  the  Baptist,  formerly 
in  the  French  Museum ; the  portrait  of  Lodovico 
Maria  Sforza,  in  the  Dresden  gallery.  There  are  a 
few  others  in  the  collections  at  Florence,  Milan,  and 
Rome.  There  are  some  in  England ; but  the  au- 
thenticity of  most  of  these,  to  say  the  least,  is  ex- 
tremely doubtful.  The  Christ  disputing  with  the 
Doctors,  in  the  National  gallery,  is  doubtless  a copy 
by  some  of  his  pupils.  The  original,  as  before  men- 
tioned, is  at  Rome.  Passavant  says,  “The  numer- 
ous copies  or  repetitions  of  this  picture,  now  exist- 
ing, imply  the  estimation  in  which  the  original  car- 
toon was  held,  and  are  additional  proofs  of  its  being 
an  original  work.  One  of  these  I saw  iri  the  Spada 
gallery  at  Rome  ; two  others  at  Milan — one  in  the 
Episcopal  palace,  and  the  other  in  the  house  of  the 
Consigliere  Commendatore  Casati.”  Most  of  the 


286  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

pictures  claimed  to  be  original  by  Da  Vinci,  even  in 
the  public  galleries  of  Europe,  were  executed  by 
his  pupils  and  imitators,  several  of  whom  copied  and 
imitated  him  with  great  success.  Lanzi  says  that 
Lorenzo  di  Credi  approached  him  so  closely,  that 
one  of  his  copies  of  Lion ar do  could  hardly  be  dis- 
tinguished from  the  original.  For  a list  of  his  imi- 
tators, see  Spooner’s  Dictionary  of  Painters,  Engra- 
vers, Sculptors,  and  Architects,  table  of  Imitators* 

WORKS  IK  NIELLO. 

The  art  of  working  in  niello,  which  led  Maso  Fi- 
niguerra,  a sculptor  and  worker  in  gold  and  silver, 
to  the  invention  of  copperplate  engraving,  was  very 
early  practiced  in  Italy.  In  the  15th  century  and 
long  before,  it  was  the  practice  to  decorate  the 
church  and  other  plate  with  designs  in  niello;  and 
also  caskets,  sword  and  dagger  hilts,  and  various 
kinds  of  ornaments.  The  designs  were  hatched  with 
a steel  point  in  gold  or  silver,  then  engraved  with 
the  burin,  and  run  in  while  hot,  with  a composition 
called  niellfr \ an  Italian  term  derived  from  the  Latin 
nigellum — a compound  of  silver,  lead,  copper,  sul- 
phur, and  borax,  used  by  the  ancients,  and  easily 
fusible,  and  of  a dark  color.  The  superfluous  parts 
of  the  niello  were  then  scraped  away,  and  the  sur- 
face polished,  when  the  engraved  part  appeared  with 
all  the  effect  of  a print.  Lanzi  says,  “ this  substance 
(nigellum)  being  incorporated  with  the  silver,  and 


SCULPTORS,  AND  ARCHITECTS. 


287 


the  whole  being  polished,  produced  the  effect  of 
shadows,  which,  contrasted  with  the  clearness  of  the 
silver,  gave  the  entire  work  the  appearance  of  a 
chiaro-scuro  in  silver.”  There  are  many  very  beau- 
tiful specimens  of  this  species  of  work,  particularly 
vases,  cups,  and  paxes , or  images  of  Christ  on  the 
cross,  which  the  people  in  Catholic  countries  kiss 
after  service,  called  the  kiss  of  peace.  The  most  re- 
markable known  specimen  in  niello,  is  a very  curious 
cup,  preserved  in  the  British  Museum.  Its  total 
height,  including  the  statuette  of  a cherub  on  the 
top  of  the  lid,  is  about  three  feet.  It  is  composed 
of  silver,  and  the  whole,  except  the  border  and  sta- 
tuette, is  embellished  with  various  fanciful  designs. 
For  a long  time  it  was  the  property  of  the  noble 
family  of  van  Bekerhout,  who  made  a present  of 
it  to  Calonia,  the  sculptor  of  the  statue  of  John  van 
Eyck,  in  the  Academy  of  Arts  at  Bruges.  The 
widow  of  this  artist  sold  it  to  Mr.  Henry  Farrer, 
who  afterwards  disposed  of  it  to  the  British  Mu- 
seum for  the  sum  of  £350. 

Remarkable  as  this  process  was,  there  arose  out 
of  it  another  incalculably  more  so.  It  became  a 
practice  for  goldsmiths,  who  wished  to  preserve  their 
designs,  to  take  impressions  of  their  plates  with 
earth,  over  which  liquid  sulphur  was  poured,  and 
from  which,  when  cold,  the  earth  was  removed. 
But  Maso  Finiguerra,  a goldsmith  and  sculptor  of 
Florence,  and  a pupil  of  the  celebrated  Masaccio, 
about  the  middle  of  the  15th  century,  carried  the 


288 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


process  still  further,  for  with  a mixture  of  soot  and 
oil  he  filled  the  cavities  of  the  engraving  he  had 
made,  as  a preparation  for  niello,  and  by  pressing 
damp  paper  upon  it  with  a roller,  obtained  impres- 
sions on  the  paper,  having,  as  Yasari  says,  “ Veni 
vano  come  disegnate  di  penna” — all  the  appearance  . 
of  drawings  done  with  a pen.  Finiguerra  was  fol- 
lowed by  Baccio  Baldini,  a goldsmith  of  Florence, 
who,  according  to  Vasari,  employed  the  eminent 
artist  Sandro  Botticelli,  to  design  for  him. 

Lanzi  says  in  1801,  a pax  for  the  collection  of 
the  Grand  Duke  of  Florence,  supposed  to  have  been 
executed  by  Matte o Dei,  an  eminent  worker  in 
niello  in  the  early  part  of  the  15tli  century,  was 
taken  to  pieces  to  examine  the  workmanship.  The 
embellishments  upon  its  surface  represented  the 
Conversion  of  St.  Paul,  and  on  the  niello  being 
extracted,  the  engraved  work  was  found  not  at  all 
deep ; and  ink  and  paper  being  provided,  twenty- 
five  fine  proof  prints  were  struck  from  it,  which 
were  distributed  among  a few  eminent  artists  and 
connoisseurs.  One  of  the m^  is  nowin  the  collec- 
tion of  the  senator  Martelli  at  Florence. 

The  arts  are  generally  to  be  traced  to  a humble 
origin,  and  in  these  works  in  niello,  often  discovering 
little  taste,  we  recognize  the  cradle  of  that  of  en- 
graving on  copper , to  which  engraving  on  steel  has 
within  the  last  few  years  succeeded.  In  the  earliest 
efforts  of  this  kind,  the  lines  produced  were  compa- 
ratively rude  and  unmeaning,  and  had  nothing  more 


SCULPTORS,  AND  ARCHITECTS.  289 

to  recommend  them  than  their  merely  representing 
a particular  sort  of  markings,  or  slight  hatchings 
with  a pen,  without  any  apparent  degree  of  execu- 
tion or  expression.  It  was  not  long,  however,  be- 
fore this  incipient  art  became  indebted  to  the  ele- 
gant etchings  of  the  great  masters  in  painting,  as 
well  as  to  their  drawings  in  pen  and  ink.  It  ac- 
quired accuracy  and  taste  from  the  drawings  of 
Raffaelle,  Michael  Angelo,  and  Lionardo  da  Yinci, 
which  connoisseurs  of  our  own  time  have  seen  and 
admired.  Some  of  those  by  Da  Yinci  were  hatched 
in  a square  and  delicate  manner,  with  a white  fluid 
on  dark  colored  paper ; while  those  of  Michael  An- 
gelo and  Raffaelle  inclined  more  to  the  lozenge,  in 
black  or  brown  ink.  They  even  carried  this  style 
of  hatching  with  the  pencil  into  their  pictures,  some 
of  which  adorn  the  Yatican,  and  into  the  famous 
cartoons,  which  are  the  glory  of  the  picture  gallery 
at  Hampton  Court ; and  by  the  persevering  appli- 
cation of  the  graver,  the  art  has  been  advancing 
to  the  present  period. 

When  compared  with  painting,  it  appears  but 
of  recent  invention,  being  coeval  only  with  the  art 
of  printing. 

It  is  for  us  to  rejoice  in  the  immense  power  that 
it  now  possesses,  and  to  avoid  the  error  pointed  out 
by  Lord  Bacon  when  he  said : “ We  are  too  prone 
to  pass  those  ladders  by  which  the  arts  are  reared, 
and  generally  to  reflect  all  the  merit  to  the  last  new 
performer.” 


290 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


SIR  CHRISTOPHER  WREN. 

This  great  architect,  and  learned  man,  was  born 
in  1632.  Though  he  was  of  a weak  bodily  consti- 
tution in  childhood,  he  possessed  a most  precocious 
mind,  and  early  manifested  a strong  inclination  for 
the  paths  of  science  and  philosophy.  At  the  age 
of  thirteen,  he  invented  an  astronomical  instrument, 
a pneumatic  engine,  and  another  instrument  of  use 
in  gnomonics.  When  fourteen  years  old,  he  was 
entered  as  a gentleman  commoner  at  Wadham  Col- 
lege, Oxford ; and  during  the  period  of  his  collegiate 
course  he  associated  with  Hooke  (whom  he  assisted 
in  his  Micrographia)  and  other  scientific  men, 
whose  meetings  laid  the  foundation  of  the  Royal 
Society.  In  1653,  he  was  elected  a Fellow  of  All 
Souls’  College ; and  by  the  age  of  twenty-four,  he 
was  known  to  the  learned  of  Europe,  for  his  various 
theories,  inventions,  and  improvements,  a list  of 
which  would  be  too  long  for  insertion.  In  1657  he 
was  appointed  to  the  professor’s  chair  of  astronomy 
at  Gresham  College,  London,  and  three  years  after, 
to  that  of  the  Savilian  professor  at  Oxford.  On 
the  establishment  of  the  Royal  Society,  he  contri- 
buted largely  to  the  success  and  reputation  of  that 
learned  body. 

wren’s  self-command. 

Wren  possessed  great  self-command,  as  appears 
from  the  following  anecdote  of  him  and  his  uncle, 
the  Bishop  of  Ely,  whom  the  Parliament  had  im- 


SCULPTORS,  AND  ARCHITECTS. 


291 


prisoned  in  the  Tower.  Some  time  before  the  de- 
cease of  Oliver  Cromwell,  Wren  became  acquaint- 
ed with  Mr.  Claypole,  who  married  Oliver’s  favorite 
daughter.  Claypole,  being  a lover  of  mathematics, 
had  conceived  a great  esteem  for  young  Wren,  and 
took  all  occasion  to  cultivate  his  friendship,  and  to 
court  his  conversation,  particularly  by  frequent  invi- 
tations to  his  house  and  table.  It  happened  in  one 
of  these  conversations  that  Cromwell  came  into  the 
room  as  they  sat  at  dinner,  and  without  any  cere- 
mony, as  was  his  usual  way  in  his  own  family,  he 
took  his  place.  After  a little  time,  fixing  his  eyes 
on  Wren,  he  said,  “ Your  uncle  has  been  long  con- 
fined in  the  Tower.”  “He  has  so,  sir,”  replied 
Wren,  “but  he  bears  his  afflictions  with  great  pa- 
tience and  resignation.”  “ He  may  come  out  if  he 
will,”  returned  Cromwell.  “Will  your  highness 
permit  me  to  tell  him  so?”  asked  Wren.  “Yes,” 
answered  the  Protector,  “ you  may.”  As  soon  as 
Wren  could  retire  with  propriety,  he  hastened  with 
no  little  joy  to  the  Tower,  and  informed  his  uncle 
of  all  the  particulars  of  his  interview  with  Cromwell ; 
to  which  the  Bishop  replied  with  warm  indignation, 
that  “ it  was  not  the  first  time  he  had  received  the 
like  intimation  from  that  miscreant,  but  he  disdained 
the  terms  proposed  for  his  enlargement,  which  were 
a mean  acknowledgment  of  his  favor,  and  an  abject 
submission  to  his  detestable  tyranny  : that  he  was 
determined  to  tarry  the  Lord’s  leisure,  and  owe  his 
deliverance  to  him  only.”  This  expected  deliver- 


292  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

ance  was  not  far  distant,  for  he  was  released  from 
confinement  by  the  Restoration. 

wren’s  restraints  in  designing  his  edifices. 
It  is  often  seen,  that  when  kings  patronize  genius, 
instead  of  allowing  it  to  develop  itself  according  to 
its  own  laws,  they  hamper  it  according  to  their  own 
preconceived  fancies.  The  palace  at  Hampton 
Court  is  censured  for  its  ill  proportions  ; but  Cun- 
ningham says  that  Wren  moved  under  sad  restraints 
from  the  commissioners  in  one  place,  and  the  court 
in  the  other.  When  the  lowness  of  the  cloisters  un- 
der the  apartments  of  the  palace  was  noticed  by 
one  of  the  courtiers,  King  William  turned  on  his 
heel  like  a challenged  sentinel,  and  answered  sharp- 
ly, “ Such  were  my  express  orders  !”  The  rebuked 
nobleman  bowed,  and  acquiesced  in  the  royal  taste. 
When  St.  Paul’s  Cathedral  was  nearly  completed, 
the  u nameless  officials”  called  commissioners  of  that 
edifice,  decided  to  have  a stone  balustrade  upon  the 
upper  cornice,  and  declared  their  determination  to 
that  effect,  “ unless  Sir  Christopher  Wren  should 
set  forth  that  it  was  contrary  to  the  principles  of 
architecture.”  To  this  resolution,  in  which  blind 
ignorance  gropes  its  way,  calling  on  knowledge  to 
set  its  stumblings  right,  Wren  returned  the  follow- 
ing answer : “ I take  leave  first  to  declare  I never 
designed  a balustrade.  Persons  of  little  skill  in  ar- 
chitecture did  expect,  I believe,  to  see  something 
that  had  been  used  in  Gothic  structures,  and  ladies 


SCULPTORS,  AND  ARCHITECTS. 


293 


think  nothing  well  without  an  edging After  this 
deserved  satire,  he  showed  clearly,  at  considerable 
length,  that  a balustrade  was  not  in  harmony  with 
the  general  plan  and  unique  combinations  of  the 
edifice  ; but  his  opinion  was  disregarded,  and  the 
balustrade  was  placed  on  the  cornice. 

THE  GREAT  FIRE  IN  LONDON. 

"While  the  discussions  were  going  on  whether  St. 
Paul’s  Cathedral  should  be  restored,  or  the  entire 
edifice  be  rebuilt,  the  great  fire  in  London,  in  1666, 
not  only  decided  this  question,  but  opened  an  exten- 
sive field  for  the  display  of  Wren’s  talents  in  vari- 
ous o^her  metropolitan  buildings.  One  of  his  imme- 
diate labors,  arising  from  the  conflagration,  was  a 
survey  of  the  whole  of  the  ruins,  and  the  prepara- 
tion of  a plan  for  laying  out  the  devastated  space  in  a 
regular  and  commodious  manner,  with  wide  streets, 
and  piazzas  at  intervals,  which  he  laid  before 
Parliament ; but  his  plans  were  not  adopted,  and 
the  new  streets  arose  in  that  dense  and  intricate 
maze  of  narrow  lanes,  which  even  now  are  but  slow- 
ly disappearing  before  modern  improvements.  Fur- 
thermore, instead  of  the  line  of  spacious  quays 
along  the  Thames  which  Wren  proposed,  the  river 
is  shut  out  from  view  by  wharfs  and  warehouses,  to 
such  an  extent  as  to  render  any  adequate  scheme 
for  the  improvement  of  its  banks  hardly  practicable. 
London  might  have  arisen  from  her  ashes  the  finest 
city  in  the  world,  had  Wren’s  plans  been  followed. 


294 


ANECDOTES  OF  PAINTERS,  ENGRAVERS, 


st.  Paul’s  cathedral. 

Wren  prepared  several  designs  and  models  for 
this  great  edifice.  The  composition  of  his  favorite 
plan  was  compact  and  simple,  forming  a general 
octagonal  mass,  surmounted  by  a cupola,  and  ex- 
tended on  its  west  side  by  a portico,  and  a short 
nave  or  vestibule  within.  The  plan  adopted,  exhi- 
bits an  almost  opposite  mode  of  treatment,  both  as 
to  arrangement  and  proportions.  While  the  first 
exhibits  its  concentration  and  uniform  spaciousness, 
the  other  is  more  extended  as  to  length,  but  con- 
tracted in  other  respects,  and  the  diagonal  vistas 
that  would  have  been  obtained  in  the  other  case, 
are  altogether  lost  in  this.  The  first  stone  of  the 
present  edifice  was  laid  June  21,  1675;  the  choir 
was  opened  for  divine  service  in  December,  1697  ; 
and  the  whole  was  completed  in  thirty-five  years, 
the  last  stone  on  the  summit  of  the  lantern  being 
laid  by  the  architect’s  son  Christopher,  in  1710. 
Taken  altogether,  St.  Paul’s  Cathedral  is  a truly 
glorious  work,  and  its  cupola  is  matchless  in  beauty. 
There  are  few  churches  of  the  past  or  present  day 
that  can  vie  with  it  in  richness  of  design ; and  St. 
Peter’s,  with  its  single  order  and  attic,  appearing 
of  much  smaller  dimensions  than  it  really  is,  cannot 
be  put  in  comparison  with  it.  For  a description  of 
this  edifice,  see  Spooner’s  Dictionary  of  Painters, 
Engravers,  Sculptors,  and  Architects. 


SCULPTORS,  AND  ARCHITECTS. 


295 


when’s  death. 

This  illustrious  artist  died  in  1723,  and  was 
buried  in  the  vault  of  St.  Paul’s  Cathedral,  the 
most  enduring  monument  of  his  genius,  under  the 
south  aisle  of  the  choir.  Inscribed  upon  his  tomb 
are  four  words  “ that  comprehend,”  says  Walpole, 
“his  merit  and  his  fame,”  sublimely  and  elo- 
quently expressed : u Si  monumentum  quseris,  cir- 
cumspice” — “ If  thou  inquirest  for  a monument, 
look  around  thee !” 

WREN  AND  CHARLES  II. 

Wren’s  small  stature,  and  his  intimacy  with 
Charles  II.,  are  humorously  shown  in  an  anecdote 
preserved  by  Seward.  The  king,  on  walking 
through  his  newly  erected  palace  at  Newmarket, 
said,  “ These  rooms  are  too  low.”  W ren  went  up  to 
the  king  and  replied,  “ An  please  your  majesty,  I 
think  them  high  enough.”  Whereupon  Charles, 
stooping  down  to  Sir  Christopher’s  stature,  answer- 
ed with  a smile,  “ On  second  thoughts,  I think  so  too.” 

THOMAS  BANKS,  THE  ENGLISH  SCULPTOR. 

Among  the  friends  of  this  gifted  man,  were  Flax- 
man,  Fuseli,  and  the  talented  John  Horne  Tooke. 
His  friendship  with  the  last  nearly  proved  mischiev- 
ous to  Banks,  and  perhaps  would  certainly  have 
been  so,  had  it  not  been  for  the  uprightness  of  his 
character.  During  those  perilous  days,  when  “ rev- 


4 


296  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

olution  ” and  “ mad  equality  ” were  causing  such 
commotions,  suspicion  fell  upon  the  politician,  who 
was  subjected  to  an  official  examination  and  a trial, 
Banks  being  also  implicated  in  the  charge,  although 
his  offence  consisted  at  most  in.  listening  to  the  oth- 
er’s declamations.  “ I remember,”  says  his  daugh- 
ter Lavinia,  “ when  Tooke,  and  Hardy,  and  others 
were  arrested  on  the  charge  of  high  treason,  that  an 
officer  waited  on  my  father  with  an  order  from  the 
Secretary  of  the  State  to  go  to  his  office.  I chanced 
to  be  in  the  next  room,  and  the  door  being 
partly  open,  I heard  all  that  passed.  My  father 
only  requested  to  be  allowed  to  go  into  his  study, 
and  give  directions  to  his  workmen ; this  was  com- 
plied with,  and  he  then  accompanied  the  messenger. 
I said  nothing  to  my  mother  of  what  I had  heard, 
since  father  had  been  silent  for  fear  of  exciting 
unnecessary  apprehensions ; but  I sat  with  much 
trouble  at  heart  for  several  hours,  when  to  my  inex- 
pressible joy  I heard  his  well  known  knock  at  the 
door,  and  ran  to  greet  his  return — a return  rendered 
doubly  happy,  since  his  own  simple  and  manly  ex- 
planation had  acquitted  him  of  all  suspicion  of  trea- 
sonable designs,  or  of  a thought  injurious  to  his 
country.”  The  intercourse  between  Banks  and  his 
daughter  Lavinia  was  of  the  most  delightful  char- 
acter. His  chief  pleasure  for  many  years  was  in 
her  instruction  ; he  superintended  her  education  in 
all  things,  and  more  particularly  in  drawing ; she 
sat  beside  him  whilst  he  modeled,  accompanied  him 


SCULPTORS,  AND  ARCHITECTS. 


297 


in  his  walks,  and  in  the  evenings  cheered  him  with 
music,  of  which  he  was  passionately  fond.  A most 
touching  instance  of  filial  and  paternal  love ! 


THE  GENIUS  OF  BANKS. 

As  Banks  never  received  anything  like  the  en- 
couragement which  he  deserved,  the  character  of 
his  genius  must  he  sought  more  in  the  works  that 
he  sketched,  than  those  that  he  executed  in  marble. 
Among  his  sketches,  the  poetical  abounded,  and 
these  were  founded  chiefly  on  Homer.  Several 
splendid  sketches  are  his  Andromache  lamenting 
with  her  handmaidens  over  the  body  of  Hector,  the 
Yenus  rising  from  the  Sea,  shedding  back  her  tress- 
es as  she  ascends,  and  a Yenus  bearing  iEneas 
wounded  from  the  Battle.  “ In  his  classical  sketch- 
es,” says  Cunningham,  athe  man  fully  comes  out: 
we  see  that  he  had  surrendered  his  whole  soul  to 
those  happier  days  of  sculpture  when  the  human 
frame  was  unshackled  and  free,  and  the  dresses  as 
well  as  deeds  of  men  were  heroic ; that  the  bearing 
of  gods  was  familiar  to  his  dreams ; and  that  it  was 
not  his  fault  if  he  aspired  in  vain  to  be  the  classic 
sculptor  of  his  age  and  nation.”  His  monument  to 
the  only  daughter  of  Sir  Brooke  Boothby,  now  in 
Ashbourne  church,  Derbyshire,  represents  the  child 
when  six  years  old,  lying  asleep  on  her  couch  in  all 
her  innocence  and  beauty.  “ Simplicity  and  ele- 
gance,” says  Dr.  Mavor,  ‘‘appear  in  the  workman- 


298  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

ship,  tenderness  and  innocence  in  the  image.”  The 
sculptor’s  daughter  Lavinia  says,  “ He  was  a minute 
observer  of  nature,  and  often  have  I seen  him  stop 
in  his  walk  to  remark  an  attitude,  or  some  group  of 
figures,  and  unconsciously  trace  the  outline  in  air 
with  his  finger  as  if  drawing  paper  had  been  before 
him.  He  would  in  the  same  way  remark  folds  of 
drapery,  and  note  them  in  his  mind,  or  sketch  them 
on  paper,  to  be  used  when  occasion  called.” 


BANKS’  KINDNESS  TO  YOUNG  SCULPTORS. 

His  daughter  Lavinia  ofter  marvelled  at  his  pa- 
tience in  pointing  out  the  imperfections  or  beauties 
of  drawing  and  models  submitted  by  young  artists 
to  his  inspection.  Even  when  little  hope  of  future 
excellence  appeared,  he  was  careful  not  to  wound 
the  feeling  of  a race  whose  sensitiveness  he  too  well 
knew.  He  would  say,  “ This  and  better  will  do, — 
but  this  and  worse  will  never  do,”  and  ended  by  re- 
commending industry  and  perseverance.  One  morn- 
ing a youth  of  about  thirteen  years  of  age  came  to 
the  door  of  Banks  with  drawings  in  his  hand.  Ow- 
ing to  some  misgiving  of  mind,  the  knock  which  he 
intended  should  be  modest  and  unassuming,  was  loud 
and  astounding,  and  the  servant  who  opened  the  door 
was  in  no  pleasant  mood  with  what  he  imagined  to 
be  forwardness  in  one  so  young.  Banks,  happening 
to  overhear  the  chiding  of  the  servant,  went  out  and 
said  with  much  gentleness,  uWhat  do  you  want 


SCULPTORS,  AND  ARCHITECTS. 


299 


with  me,  young  man?”  “ I want,  sir,”  said  the 
boy,  “ that  you  should  get  me  to  draw  at  the  acade- 
my.” “ That,”  replied  the  sculptor,  “ is  not  in  my 
power,  for  no  one  is  admitted  there  but  by  ballot, 
and  I am  only  one  of  those  persons  on  whose  plea- 
sure it  depends.  But  you  have  got  a drawing 
there — let  me  look  at  it.”  He  examined  it  for  a 
moment,  and  said,  “ Time  enough  for  the  academy 
yet,  my  little  man ! Go  home  and  mind  your  school- 
ing, try  and  make  a better  drawing  of  the  Apollo, 
and  in  a month  come  again  and  let  me  see  it.”  The 
boy  went  home,  drew  with  three-fold  diligence,  and 
on  that  day  month  appeared  again  at  the  door  of 
Banks  with  a new  drawing  in  his  hand.  The  sculp- 
tor liked  this  drawing  better  than  he  did  the  other, 
gave  him  a week  to  improve  it,  encouraged  him 
much,  and  showed  him  the  various  works  of  art  in 
his  own  study.  He  went  away  and  returned  in  a 
week,  when  the  Apollo  was  visibly  improved — he 
conceived  a kindnes,  for  the  boy,  and  said  if  he 
were  spared  he  would  distinguish  himself.  The 
prediction  has  been  fulfilled, — the  academician 
Mulready  has  attained  wide  distinction. 

THE  PERSONAL  APPEARANCE  AND  CHARACTER  OF 
BANKS. 

In  person,  Banks  was  tall,  with  looks  silent  and 
dignified,  and  an  earnestness  of  carriage  that  well 
became  him ; he  spoke  seldom  ; he  had  a winning 
sweetness  in  his  way  of  address,  and  a persuasive 


300  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

manner  which  ;was  not  nnfelt  by  his  academic  com- 
panions. He  was  simple  and  frugal  in  his  general 
style  of  living,  yet  liberal  to  excess  in  all  that  rela- 
ted to  the  encouragement  of  art;  his  purse  was 
open  to  virtuous  sufferers,  and  what  is  far  more,  he 
shrank  not  from  going  personally  into  the  house  of 
the  poor  and  sick,  to  console  and  aid  them  in  adver- 
sity. In  his  younger  days  it  was  his  custom  to  work 
at  his  marbles  in  the  solitude  of  the  Sabbath  morn- 
ing when  his  assistants  were  not  at  hand  to  inter- 
rupt him ; but  as  he  advanced  in  life  he  discon- 
tinued the  practice,  and  became  an  example  to  his 
brother  artists  in  the  observance  of  the  Sabbath 
day.  He  grew  strict  in  religious  duty,  and,  like 
Flaxman,  added  another  to  the  number  of  those 
devout  sculptors,  whose  purity  of  life,  and  reach 
of  intellect,  are  an  honor  to  their  country. 

elaxman’s  tribute  to  banks. 

That  Flaxman  appreciated  and  honored  Banks’ 
genius,  he  was  ever  ready  to  give  strong  proof. — 
uWe  have  had  a sculptor,”  he  says  in  one  of  his 
lectures,  “ in  the  late  Mr.  Banks,  whose  works  have 
eclipsed  the  most,  if  not  all  his  continental  cotempo- 
raries.” On  another  occasion — that  of  the  sale  of 
the  sculptor’s  models — Mrs.  Siddons  and  Flaxman 
were  seated  together,  when  the  auctioneer  began 
to  expatiate  upon  the  beauty  of  an  antique  figure, 
saying,  “ Behold  where  the  deceased  artist  found 
some  of  his  beauties.”  “ Sir,”  exclaimed  Flaxman, 


SCULPTORS,  AND  ARCHITECTS. 


301 


more  warmly  than  was  his  wont,  “you  do  Mr. 
Banks  much  wrong,  he  wanted  no  assistance.” 

Banks  died  in  1805.  In  Westminster  Abbey  a 
tablet  is  erected  with  this  inscription,  “ In  memory 
of  Thomas  Banks,  Esq.,  R.  A.,  Sculptor,  whose  su- 
perior abilities  in  the  profession  added  a lustre  to 
the  arts  of  his  country,  and  whose  character  as  a 
man  reflected  honor  on  human  nature.” 

JOSEPH  NOLLEKENS,  THE  ENGLISH  SCULPTOR. 

Cunningham  says,  u He  was  passionately  fond  of 
drawing  and  modelling,  and  labored  early  and  late 
to  acquire  knowledge  in  his  profession  ; yet  he  wras 
so  free  from  all  pride,  or  so  obliging  by  nature,  that 
he  would  run  on  any  errand ; nor  did  he  hesitate  to 
relate,  in  the  days  of  his  wealth  and  eminence,  how 
he  used  to  carry  pots  of  porter  to  his  master’s 
maids  on  a washing  day,  and  with  more  success 
than  Barry  did  when  he  treated  Burke,  4 for,’  says 
he,  4 I always  crept  slowly  along  to  save  the  head 
of  foam,  that  the  lasses  might  taste  it  in  all  its 
strength.’  Such  traits  as  these,  however,  I can- 
not consent  to  set  down  as  incontrovertible  proofs 
of  a mean  and  vulgar  spirit ; nay,  they  often  keep 
company  with  real  loftiness  of  nature.” 

NOLLEKENS’  VISIT  TO  ROME. 

In  1760,  Nollekens  proceeded  to  Italy,  by  the 
way  of  Paris.  On  arriving  in  the  French  capital, 
he  presented  himself  at  the  house  of  an  uncle  there, 


302  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

told  his  name,  and  claimed  kindred.  The  old  gen- 
tleman stood  with  his  door  half  opened,  put  a few 
cool  questions,  and  seemed  to  doubt  the  veracity  of 
his  story ; but  at  length  catching  a glimpse  of  a gold 
wTatch-chain,  he  invited  him  to  dinner.  The  pride 
of  the  young  artist,  however,  had  been  deeply 
touched — he  declined  the  invitation,  and  went  his 
way.  On  reaching  Rome,  the  friendless  youth  found 
his  stock  reduced  to  some  twenty  guineas;  and 
dreading  want,  and  what  was  worse,  dependence, 
he  set  about  mending  his  fortune  with  equal  des- 
patch and  success.  He  modelled  and  carved  in 
stone  a bas-relief,  which  brought  him  ten  guineas 
from  England ; and  in  the  next  year  the  Society  of 
Arts  voted  him  fifty  guineas  for  his  Timoclea  be- 
fore Alexander,  which  was  in  marble.  He  was 
now  noticed  by  the  artists  of  Rome,  and  lived  on 
friendly  terms  with  Barry,  who  was  waging  a use- 
less and  vexatious  war  with  interested  antiqua- 
rians and  visitors  of  wealth  and  virtu.  Indeed, 
such  was  the  gentleness  of  his  nature,  and  his  mild 
and  unassuming  demeanor,  that  he  never  made 
enemies  except  amongst  those  who  could  have 
done  no  one  credit  as  friends. 

NOLLEKENS  AND  GARRICK. 

During  Nollekens’  residence  at  Rome,  Garrick 
came  one  day  into  the  Vatican,  and  observing  the 
young  sculptor,  said,  “ Ah  ! what  ? let  me  look  at 
you ! You  are  the  little  fellow  to  whom  we  gave  the 


SCULPTORS,  AND  ARCHITECTS. 


303 


prizes  in  the  Society  of  Arts  ? eh !”  Nollekens  an- 
swered, “ Yes,”  upon  which  the  actor  shook  him 
kindly  by  the  hand,  inquired  concerning  his  studies, 
and  invited  him  to  breakfast  the  next  morning. 
He  did  more— he  sat  to  him  for  his  bust,  and  when 
the  model  was  finished,  he  gave  him  twelve 
guineas.  This  was  the  first  bust  he  ever  modelled. 


NOLLEKENS9  TALENTS  IN  BUST  SCULPTURE. 

The  bust  of  Sterne,  which  he  afterwards  executed 
at  Rome  in  terra  cotta,  materially  increased  his  re- 
putation ; and  the  applause  that  it  received  proba- 
bly warned  the  sculptor  of  his  talents  in  that  branch 
of  the  art,  in  which  he  afterwards  became  so  distin- 
guished. It  forms  a truly  admirable,  image  of  the 
original,  and  ISTollekens,  to  his  last  hour,  alluded  to 
it  with  pleasure.  “ Dance,”  he  used  to  say,  “ made 
my  picture  with  my  hand  leaning  on  Sterne’s 
head— he  was  right.”  This  striking  bust  is  now  in 
the  collection  of  Mr.  Agar  Ellis.  His  talents  in 
bust  sculpture  were  universally  acknowledged,  and 
when  Mr.  Coutts,  the  banker,  applied  to  Fuseli, 
then  keeper  of  the  Royal  Academy,  for  the  best 
sculptor  to  execute  his  bust,  the  painter  replied, 
“ I can  have  no  difficulty  in  telling  you  ; for  though 
ISTollekens  is  weak  in  many  things,  in  a bust  he 
stands  unrivalled.  Had  you  required  a group  of 
figures,  I should  have  recommended  Flaxman,  but 
for  a bust,  give  me  Nollekens.” 


304  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 
NOLLEEXNS’  BUST  OF  DR.  JOHNSON. 

While  he  was  modelling  the  bust  of  Dr.  Johnson, 
the  latter  came  one  day  accompanied  by  Miss  Wil- 
liams, a blind  lady  ; and  being  very  impatient  of  the 
protracted  sittings,  he  came  quite  late,  which  so  dis- 
pleased the  sculptor  that  he  cried  out,  “Xow,  Doc- 
tor, you  did  say  you  would  give  my  bust  half  an 
hour  before  dinner,  and  the  dinner  has  been  waiting 
this  long  time.”  u X oily,  be  patient,  X oily,”  said  the 
sage,  making  his  way  to  the  bust.  “ How  is  this, 
X oily,  you  have  loaded  the  head  with  hair.”  w All 
the  better,”  returned  the  artist,  “ it  will  make  you 
look  more  like  one  of  the  ancient  sages  or  poets. — 
I’ll  warrant  now,  you  wanted  to  have  it  in  a wig.” 
The  Doctor  remonstrated  seriously,  saying,  u a man, 
sir,  should  be  portrayed  as  he  appears  in  company” — 
but  th e sculptor  persisted.  The  bust  is  an  admirable 
work  of  art,  besides  being  a faithful  likeness. 

NOIXEKENS’  LIBERAUITY  TO  CHANTREY. 

When  Chantrey  sent  his  bust  of  Horne  Tooke  to 
the  Exhibition,  he  was  young  and  unfriended ; but 
the  great  merit  of  the  work  did  not  escape  the  eye 
of  Xollekens.  He  lifted  it  from  the  floor,  set  it 
before  him,  moved  his  head  to  and  fro,  and  having 
satisfied  himself  of  its  excellence,  turned  to  those 
who  were  arranging  the  works  for  the  Exhibition, 
and  said,  “There’s  a very  fine  work:  let  the  man 
who  made  it  be  known — remove  one  of  my  busts, 


SCULPTORS,  AND  ARCHITECTS. 


305 


and  put  this  in  its  place,  for  it  well  deserves  it.” 
Often  afterwards,  when  desired  to  model  a bust,  he 
said  in  his  most  persuasive  way,  “ Go  to  Chantrey, 
he  is  the  man  for  a bust ; he  will  make  a good  bust 
of  you — I always  recommend  him.”  He  sat  for  his 
bust  to  Chantrey,  who  always  mentioned  his  name 
with  tenderness  and  respect. 

• NOLLEKENTS  AND  THE  WIDOW. 

Smith  gives  a rather  amusing  account  of  a lady 
in  weeds  for  her  husband,  who  “ came  drooping  like 
a willow  to  the  sculptor,  desiring  a monument,  and 
declaring  that  she  did  not  care  what  money  was 
expended  on  the  memory  of  one  she  loved  so.  c Do 
what  you  please,  but  oh ! do  it  quickly,’  were  her 
parting  orders.  N ollekens  went  to  work,  made  the 
design,  finished  the  model,  and  began  to  look  for  a 
block  of  marble  to  carve  it  from,  when  in  dropped 
the  lady — she  had  been  absent  some  three  months. 
c Poor  soul,’  said  the  sculptor,  when  she  was  an- 
nounced, c I thought  she  would  come  soon,  but  I am 
ready.’  The  lady  came  light  of  foot,  and  lighter  of 
look.  4 Ah,  how  do  you  do,  Mr.  Nollekens  ? Well, 
you  have  not  commenced  the  model  ?’  c Aye,  but  I 
have  though,’  returned  the  sculptor,  ‘ and  there  it 
stands,  finished.’  c There  it  is,  indeed,’  sighed  the 
lady,  throwing  herself  into  a chair  ; they  looked  at 
one  another  for  a minute’s  space  or  so — she  spoke 
first.  c These,  my  good  friend,  are,  I know,  early 
days  for  this  little  change’ — she  looked  at  her  dress, 


306  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

from  which  the  early  profusion  of  crape  had  disap- 
peared,— 4 but  since  I saw  you,  I have  met  with  an 
old  Roman  acquaintance  of  yours,  who  has  made  me 
an  offer,  and  I don’t  know  how  he  would  like  to  see 
in  our  church  a monument  of  such  expense  to  my 
late  husband.  Indeed,  on  second  thoughts,  it 
would  perhaps  be  considered  quite  enough,  if  I 
got  our  mason  to  put  up  a mural  tablet,  and  that 
you  know  he  can  cut  very  prettily.’  4 My  charge, 
madam,  for  the  model,’  said  the  sculptor,  4 is  one 
hundred  guineas.’  4 Enormous!  enormous!’  said 
the  lady,  but  drew  out  her  purse  and  paid  it.” 
The  mutability  of  human  nature  ! 

NOLLEKENS’  COMPLIMENTS. 

Cunningham  says  that  a portion  of  his  sitters 
44  were  charmed  into  admirers  by  the  downright 
bluntness  of  his  compliments,  which  they  regarded 
as  so  many  testimonies  on  oath  of  their  beauty.  As 
a specimen  of  his  skill  in  the  difficult  art  of  pleasing, 
take  the  following  anecdotes.  He  was  modelling 
the  head  of  a lady  of  rank,  when  she  forgot  her- 
self, changed  her  position,  and  looked  more  loftily 
than  he  wished.  4 Don’t  look  so  scorney,  woman,’ 
said  the  sculptor,  modelling  all  the  while,  4 else  you 
will  spoil  my  bust — and  you’re  a very  fine  woman — 
I think  it  will  make  one  of  my  very  best  busts.’ 
Another  time  he  said  to  a lady,  who  had  a serious 
squint,  4 look  for  a minute  the  other  way,  for  then  I 
shall  get  rid  of  a slight  shyness  in  your  eye,  which, 


SCULPTORS,  AND  ARCHITECTS. 


307 


though  not  ungraceful  in  life,  is  unusual  in  art.’ 
On  another  occasion,  a lady  with  some  impatience 
in  her  nature  was  sitting  for  her  portrait ; every 
minute  she  changed  her  position,  and  with  every 
change  of  position  put  on  a change  of  expression, 
until  his  patience  gave  way.  ‘ Lord,  woman  !’  ex- 
claimed the  unceremonious  sculptor,  c what’s  the 
matter  how  handsome  you  are,  if  you  won’t  sit  still 
till  I model  you  !’  The  lady  smiled,  and  sat  ever 
afterwards  like  a lay  figure.” 

AN  OVERPLUS  OF  MODESTY. 

It  has  been  remarked  by  some  close  observer,  that 
modesty  is  like  shadow  in  a picture — too  much  of  it 
obscures  real  excellence,  while  the  proper  medium 
exhibits  all  parts  in  agreeable  relief.  John  Riley, 
an  English  portrait  painter  who  flourished  in  the  lat- 
ter part  of  the  seventeenth  century,  was  a proof 
that  one  may  have  a superabundance  of  this  in  it- 
self excellent  quality.  Walpole  says,  “ He  was  one 
of  the  best  native  artists  who  had  flourished  in  Eng- 
land ; but  he  was  very  modest,  had  the  greatest 
diffidence  of  himself,  and  was  easily  disgusted  with 
his  own  works.  His  talents  were  obscured  by  the 
fame  rather  than  by  the  merit  of  Kneller,  and  with 
a quarter  of  the  latter’s  vanity,  he  might  have  per- 
suaded the  world  that  he  was  as  great  a “ master.” 
He  was  but  little  noticed  until  the  death  of  Lely, 
when  Chiffinch  being  persuaded  to  sit  to  him,  the 
picture  was  shown,  and  recommended  him  to  the 


308  ANECDOTES  OF  PAINTERS,  ENGRAVERS. 

king.  Charles  II.  sat  to  him,  hut  almost  discour- 
aged the  bashful  artist  from  pursuing  a profession  so 
proper  for  him.  Looking  at  the  picture,  he  cried, 
“ Is  this  like  me  ? Then  od’s  fish,  I’m  an  ugly  fel- 
low !”  This  discouraged  Riley  so  much  that  he 
could  not  bear  the  picture,  though  he  sold  it  for  a 
large  price.  However,  he  kept  on,  and  had  the  sat- 
isfaction of  painting  James  II.  and  his  Queen,  and 
also  their  successors,  who  appointed  him  their  paint- 
er. Riley  died  three  years  after  the  accession  of 
William  and  Mary,  in  1691. 

THE  ARTIST  FOOTMAN-. 

Edward  Norgate,  an  English  painter  of  excellent 
judgment  in  pictures,  was  sent  into  Italy  by  the 
Earl  of  Arundel  to  purchase  works  of  art.  On  re- 
turning, however,  he  was  disappointed  in  receiving 
remittances,  and  was  obliged  to  remain  some  time 
in  Marseilles.  Being  totally  unknown  there,  he  used 
frequently  to  walk  for  several  hours  in  a public  part 
of  the  city,  with  a most  dejected  air ; and  while 
thus  engaged,  he  was  occasionally  observed  by  a 
merchant,  who,  doubtless  impelled  by  kind  feelings, 
ventured  one  day  to  speak  to  the  wanderer,  and 
told  him  that  so  much  walking  would  have  soon 
brought  him  to  the  end  of  his  journey,  when  ]STor- 
gate  confessed  his  inability  to  proceed  for  want  of 
money.  The  merchant  then  inquired  into  his  cir- 
cumstances, and  told  him  that  perceiving  he  was 
able  to  walk  at  least  twenty  miles  a day,  if  he  would 


SCULPTORS,  AND  ARCHITECTS. 


309 


set  out  on  his  journey  homeward,  he  would  furnish 
him  handsomely  for  a foot  traveler.  By  this  assist- 
ance, Norgate  arrived  in  his  own  country. 

AN  ARCHITECT’S  STRATAGEM. 

William  Winde,  a Dutch  architect  who  visited 
England  in  the  reign  of  Charles  II.,  erected,  among 
other  works,  Buckingham  House  in  St.  James’ 
Park,  for  the  Duke  of  Bucks.  He  had  nearly  fin- 
ished this  edifice,  hut  the  payment  was  most  sadly 
in  arrears.  Accordingly  Winde  enticed  the  Duke 
one  day  to  mount  upon  the  leads,  to  enjoy  the  grand 
prospect.  When  there,  he  coolly  locked  the  trap- 
door and  threw  the  key  over  the  parapet,  address- 
ing his  astounded  patron,  “ I am  a ruined  man,  and 
unless  I have  your  word  of  honor  that  the  debts 
shall  be  paid,  I will  instantly  throw  myself  over.” 
“ And  what  is  to  become  of  me  ?”  asked  the  Duke. 
“ You  shall  go  along  with  me !”  returned  the  des- 
perate architect.  This  prospect  of  affairs  speedily 
drew  from  the  Duke  the  wished-for  promise,  and 
the  trap-door  was  opened  by  a workman  below,  who 
was  a party  in  the  plot. 

THE  EREEDOM  OF  THE  TIMES  IN  THE  REIGN  OF 
CHARLES  II. 

The  freedom  allowed  in  social  intercourse  is  well 
illustrated  by  a sketch  in  the  account  of  Graham. 
William  Wissing,  a Dutch  painter  who  succeeded 
Sir  Peter  Lely  in  fashionable  portrait  painting  in 


310  ANECDOTES  OF  PAINTERS,  ENGRAVERS, 

England,  was  noted  for  his  complaisant  manners, 
which  recommended  him  to  most  people’s  esteem. 
“ In  drawing  his  portraits,  especially  those  of  the 
fair  sex,  he  always  took  the  beautiful  likeness  ; and 
when  any  lady  came  to  sit  to  him  whose  complexion 
was  in  any  ways  pale,  he  would  commonly  take  her 
by  the  hand  and  dance  her  about  the  room  till  she 
became  warmer ; by  which  means  he  heightened 
her  natural  beauty,  and  made  her  fit  to  be  repre- 
sented by  his  hand !” 

HANNEMAN’s  PICTURE  OF  “ PEACE.” 

Descamps  says  that  Adrian  Hanneman  painted 
for  the  States  of  Holland  an  emblematical  subject 
of  Peace,  impersonated  by  a beautiful  young  female 
habited  in  white  satin,  and  seated  on  a throne.  The 
picture  was  very  charming,  so  much  so  that  the  gal- 
lant burgomasters  presented  the  living  model  who 
served  for  it  with  a gratuity  of  1000  florins! 

WEESOP. 

This  Dutch  painter  is  chiefly  known  in  England, 
for  his  successful  imitations  of  Vandyck.  He  spent 
some  time  there,  but  left  in  1649,  saying,  “ He  would 
never  stay  in  a country  where  they  cut  off  their 
king’s  head,  and  were  not  ashamed  of  the  action.” 
Walpole  remarks  that  it  would  have  been  more  sen- 
sible to  say,  he  would  not  stay  where  they  cut  off 
the  head  of  a king  who  rewarded  painters,  and  then 
defaced  and  sold  his  collection. 


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